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Our website was last updated on: 22 June 2017
 
(B) PORTRAITS SOLD
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Portrait of a Gentleman 1730, by John Vanderbank.
Oil on canvas in a 19th century elaborate gilt frame.

The sitter regards the viewer with a direct gaze whilst his hand points to the inscription, bottom right, 'J. Vanderbank fecit 1730'

JOHN VANDERBANK (1694-1739) was born in London into an artistic family at the close of the seventeenth century. The son of John Vanderbank Senior, the well known royal tapestry weaver, Vanderbank studied painting first with his father and the portrait painter Jonathan Richardson.
He was one of Godfrey Kneller's earliest pupils at the Academy of Painting from 1711, and in 1720, when Kneller’s academy began to decline, started his own Academy of painting in St. Martin's Lane.

Vanderbank himself was a very able draughtsman, who, in his prime, found his works favoured over those of Hogarth. His painting style followed on from the vigour and grand style of Kneller. His work, however, is characterised by a more vital and nervous drawing than many of his contemporaries, and by a bold pigmentation, particularly in the flesh, where pink tones are painted thinly over the cooler greys of the ground layer to suggest glowing skin – the technique of 'colori cangianti', derived via Rubens from the artists of the seicento. Equally distinctive in Vanderbank’s work is the placing of pure red pigments for the highlights.

It was noted by George Vertue that "only intemperance prevented Vanderbank from being the greatest portraitist of his generation." He died of tuberculosis in Holies Street, Cavendish Square, London, on 23 Dec. 1739, aged about 45, and was buried in Marylebone church.

SIZE: 46.5 x 37 inches framed.
canvas 35 x 25.5 inches.
PROVENANCE: Kent Private Collection for many years.
Ref: 8830
This item has been sold




Portrait of a Cornish Lady c.1730; English School.
Oil on canvas in slim gilt frame.

A charming portrait typical of its period and influenced by the style of Sir Godfrey Kneller, the dominant Court and Society painter of his time.

This provincial portrait of Cornish gentry has a direct, truthful quality often missing in the work of the more sophisticated city followers of Kneller who often achieved merely a blandly fashionable image devoid of personality.
Provincial she may be, but this lady has faithfully emulated the high fashion of the Court in her hair style, the 'undress' robe and her plunging neckline.

This portrait and another of a lady, probably her sister, (ref. 8852) are from the same Cornish estate where they were for generations...possibly since they were painted. Over the centuries the identities of the sitters were forgotten and the paintings moved into obscurity in little used rooms.

SIZE: 30.25 x 25 inc. frame

PROVENANCE: by descent through a Cornish family.
Ref: 8853
This item has been sold





Portrait of 'Micky', 1920, by John Young-Hunter RBA.
Oil on unlined canvas in a good quality gilded frame.
Inscribed 'Micky' and signed and dated 1920 lower left.

A charming portrait of the young girl 'Micky' painted in 1920, utterly evocative of its period and capturing the relaxed innocence of the child. The artist has used his paint in a very bravura fashion, the broad strokes of the clothing and background providing a contrast to the sensitively rendered face.
Young-Hunter expresses a painterly delight in the use of the medium.

JOHN YOUNG-HUNTER (1874-1955) is known for his society portraits of wealthy British and Americans, and for his Native American portraits and genre scenes of the Southwest. Young-Hunter’s work has a bravura quality and his colours are tastefully planned.

John Young-Hunter was born in Glasgow, Scotland to marine painter, Colin Hunter, and pianist, Isabella Young.
He attended Clifton College and the University of London. At the School of the Royal Academy of Arts in London he won Silver Medals and studied under John Singer Sargent, a close family friend. Lawrence Alma-Tadema was another friend of his parents, and much of Young-Hunter's early work is strongly influenced by the Pre-Raphaelites.
His wife, Mary, whom he met through his studies, also worked in the style. Young Hunter exhibited at the Royal Academy from 1900 to 1913 where his paintings received highly favorable reviews. His work also was shown at the Tate Gallery and the Luxembourg Museum in Paris. He was elected RBA in 1914. He lived at Gifford's Hall, Suffolk.

Young-Hunter had been fascinated with American Indians since attending Buffalo Bill's Wild West Show as a youth in London.
He settled in Taos, New Mexico and became a part of the colony of artists around Mabel Dodge Luhan. He died at Taos on 9 August 1955.

SIZE: 57.5 x 39 inches inc. frame.
PROVENANCE: Private Collection, Kent.
Verso: old inventory number 14854.



Ref: 8729
This item has been sold




Portrait of a Girl with her Pet Dog c.1780; Follower of Thomas Hickey
Oil on canvas in giltwood frame.

An attractive portrait of a girl with a dog on her lap; the dog may have been her pet but equally may be present as a symbol of trustworthiness and fidelity.

THOMAS HICKEY (1741 - 1824) was born in Dublin, he studied under Benjamin West at Dublin Society Schools 1753-6, winning prizes. He travelled to Italy c.1760-6, returning to Dublin in 1767 where he exhibited 1768-70. He moved to London and entered the Royal Academy Schools in 1771, exhibiting at the RA 16 times between 1772 and 1792. In 1778 Hickey was working in Bath then embarked for India in 1780, but the ship was captured by the French en route and he was released at Cadiz. He proceeded by land to Lisbon, where he worked successfully 1782-4 before continuing on to India, arriving in Bengal in 1784. He took a large, handsome house in the most fashionable part of Calcutta and established a thriving business. Hickey returned to England in June 1791; he was portrait painter to Lord Macartney's expedition to China 1792-4. Probably in Dublin in 1796, returning to India in 1798, where he had a successful portrait practice until his death; he was buried in Madras 20 May 1824.

SIZE: 27.5 x 23.5 inches inc. frame.
PROVENANCE: Scottish private collection for many years.
Ref: 8541
This item has been sold





Portrait of a Boy and Lamb c. 1825 by F. Scarfe.
Oil on canvas, signed above the lamb's head, in modern giltwood frame.

The young boy, dressed rather foppishly 'a la mode' of the Late Georgian or Regency period, holds a book, his finger marking his place. He looks to one side as if he has just been distracted from his reading.
His right arm is round a lamb which may have been a pet or it may be purely symbolic.
Lambs were often used in portraiture to signify innocence, gentleness, patience and humility .... characteristics thought highly desirable in a child.

F. SCARFE. The portrait is signed by this artist, but little is known of him. He lived in Marylebone, London, and exhibited a portrait at The Royal Academy in 1825.

SIZE:25.5 x 21.25 inches inc. frame.
PROVENANCE: The Collection of Brian Juhos from his Domaine in Southern France.(see Image 6).

{BRIAN JUHOS is a celebrated international decorator and interior designer; a renowned tastemaker, his signature style is an integral part of many sophisticated interiors around the world.}
Ref: 8746
This item has been sold





Portrait of a Young Nobleman 1611; Follower of Van Mierevelt
Oil on panel in 'cassetta' frame.
Probably a marriage or betrothal portrait, painted in 1611 by a Follower of Van Mierevelt.
Probably Flemish or Dutch, the young aristocrat, wearing the rigid Spanish fashions of the time, is depicted looking distant, aloof and of a subdued high-class distinction.
The young man, aged 27, wears expensive and fashionably slashed clothing.
This portrait would probably have been commissioned to commemorate a dynastic union of great and powerful families, his coat of arms is prominently displayed along with his age, 27, and the date 1611.

At this time Spain controlled a large area known as the Spanish Netherlands, it was a portion of the Low Countries under their rule from the sixteenth to the eighteenth century. This region comprised the Netherlands and modern Belgium, Luxembourg, as well as part of northern France.

Michiel Jansz. VAN MIEREVELT, Mierveld or Mireveldt (1567 - 1641) was a Dutch Golden Age painter.
His portrait style was extremely influential and he painted for most of the European Courts; he was much emulated.

SIZE: 35 x 30.75 inches inc. frame.
PROVENANCE: Cheshire Private Collection.


Ref: 8573A
This item has been sold




Portrait of a Cornish Lady c.1730; English School
Oil on canvas in slim gilt frame.

A charming portrait typical of its period and influenced by the style of Sir Godfrey Kneller, the dominant Court and Society painter of his time.

This provincial portrait of Cornish gentry has a direct, truthful quality often missing in the work of the more sophisticated city followers of Kneller, who often achieved merely a blandly fashionable image devoid of personality.
Provincial she may be, but this lady has emulated the high fashion of the Court in her hair style, the 'undress' robe and her plunging neckline.
Also, rather amusingly, she has adopted a facial expression which one can only presume she thought was sophisticated...one eyebrow raised quizzically and a crooked smile. This wouldbe 'come hither' expression, whilst amusing, is also curiously endearing.

This portrait and another of a lady, probably her sister, (ref. 8853) are from the same Cornish estate where they were for generations...possibly since they were painted. Over the centuries the identities of the sitters were forgotten and the paintings moved into obscurity in little used rooms.

SIZE: 30.25 x 25 inc. frame
PROVENANCE: by descent through a Cornish family.
Ref: 8852
This item has been sold





Portrait of Elizabeth Todd c.1780; Circle of John Francis Rigaud.
Oil on canvas in period giltwood frame.

This charming late Georgian portrait, of intimate size, shows Elizabeth Todd, (nee Strutt) of Boxford.

Elizabeth was the wife of Radcliffe Pearle Todd and they had a son also called Radcliffe Pearle Todd (portrait also on this website).
The Todds owned and lived at Sturmer Hall, Haverhill, Suffolk. (See Image 4). This estate had been in the family since c. 1595.
Elizabeth died in 1795.

JOHN FRANCIS RIGAUD (1742-1810) was a painter of portraits, history and decorative pieces. Born in Italy of French descent, he was mainly active in England. He trained in his native Turin as well as Florence and Bologna and moved to London in 1771. Rigaud's major patron was Heneage Finch, 4th Earl of Aylesford, for whom he decorated the Pompeian Gallery at Packington Hall, Warwickshire, in 1787. He was a member of the art academies in Bologna and London.

SIZE: 21 x 19 inches inc. frame.
PROVENANCE: by direct descent in the family.
Ref: 8709
This item has been sold





Portrait of Radcliffe Pearle Todd c.1780; Circle of John Francis Rigaud.
Oil on canvas in period giltwood frame.

This charming late Georgian portrait, of intimate size, shows Radcliffe Pearle Todd (1762-1813) of Sturmer Hall, Haverhill, Suffolk. (See Image 4). This estate had been in the family since c. 1595.

He was the son of Radcliffe Pearle Todd and his wife Elizabeth Strutt. (portrait also on this website).
This young Radcliffe married, firstly, Sarah Elizabeth Massingberd of Gunby and, secondly, Sarah Ingle.
His son by Sarah Elizabeth was also, confusingly, called Radcliffe Pearle Todd.

JOHN FRANCIS RIGAUD (1742-1810) was a painter of portraits, history and decorative pieces. Born in Italy of French descent, he was mainly active in England. He trained in his native Turin as well as Florence and Bologna and moved to London in 1771. Rigaud's major patron was Heneage Finch, 4th Earl of Aylesford, for whom he decorated the Pompeian Gallery at Packington Hall, Warwickshire, in 1787. He was a member of the art academies in Bologna and London.

SIZE: 21 x 19 inches inc. frame.
PROVENANCE: by direct descent in the family.
Ref: 8708
This item has been sold





Portrait of a Lawyer c. 1820: Circle of Reinagle.
Oil on canvas (now mounted on board) in reproduction gilt frame.

The sitter, a member of the legal profession, sits at ease at his desk upon which are legal documents, a quill pen in an inkstand and various books on the law, including 'Coke Upon Littleton' and 'Blackstone's Commentaries'.

RAMSAY RICHARD REINAGLE, (19 March 1775 - 17 November 1862) was an English portrait, landscape, and animal painter, and son of Philip Reinagle, he was a pupil of his father, whose style he followed. He exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters.
Reinagle exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823.

PLEASE NOTE: There is also a similarity to the work of the American artist REMBRANDT PEALE (1778-1860). Peale was an artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Peale's style was influenced by French Neoclassicism after a stay in Paris in his early thirties.

SIZE: 40.75 x 39.75 inc. frame.
PROVENANCE: Private Collection, Somerset.
Ref: 8639
This item has been sold



 
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