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Our website was last updated on: 22 June 2017
 
(B) PORTRAITS SOLD
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SOLD...Portrait said to be of Mrs. McFarlane, daughter of the first Baronet Halkett of Pitfirrane c.1715; by William Aikman
Oil on canvas in feigned oval within old 18th c. style gilt frame.

The sitter may possibly be Mary Halkett, daughter of Sir Charles Halkett, the first baronet, knighted by King Charles ll. Sir Charles married Janet Murray, daughter of Sir Patrick Murray of Dryden; she bore him seven children.
The Halketts are a family of ancient lineage, in Scotland by the 13th century and settled at Pitfirrane in the 14th. The family seat was a small castle or tower house sold in 1951 when Lady Madeleine Halkett died; it is now a golf club.

WILLIAM AIKMAN (1682-1731) was a Scottish portrait painter, only son of the Laird of Cairney, Forfar where he was born. He developed a passion for painting and studied under Medina, sold the family estate and went to Rome in 1707 for three years. He settled in Edinburgh in 1712 and was an excellent taker of likenesses, the best Edinburgh portraitist of his time, painting most of the nobility, gentry and lawyers.
In 1723, encouraged by the Duke of Argyll, he moved to London where he was not only patronised by Scots, but became well known in literary circles and the friend of Pope, Gray, Thomson and others.
He died in London but by his wish was buried in Grey Friars Church, Edinburgh.

This portrait, with its painterly delight in manipulating the medium, shows a more bravura approach than his later style in London when he adopted a 'smoother' manner consciously emulating Sir Godfrey Kneller, Principal Painter to the King.

Size:38 x 33 inc. frame.
Provenance: by descent, Scottish private collection. Verso: fragment of 19th c. Edinburgh framer's label.

Ref: 8357
This item has been sold




SOLD...Portrait of John Campbell, Duke of Argyll c.1725; by William Aikman
JOHN CAMBELL, 2nd Duke of Argyll and Duke of Greenwich (1680-1743) was a statesman and soldier, he served under the Duke of Marlborough at the Battle of Malplaquet in 1709, becoming Commander-in-Chief in Spain in 1711.
He suppressed the Jacobite Rebellion of 1715, resisting the Earl of Mar's forces at Sherrifmuir, but was then replaced for taking too lenient an attitude to the rebels. He was one of the mainstays of government policy in Scotland until his final dismissal in 1740.

WILLIAM AIKMAN (1682-1731) was a Scottish portrait painter, only son of the Laird of Cairney, Forfar where he was born. He developed a passion for painting and studied under Medina, sold the family estate and went to Rome in 1707 for three years.
He settled in Edinburgh in 1712 and was an excellent taker of likenesses, the best Edinburgh portraitist of his time, painting most of the nobility, gentry and lawyers.
In 1723, encouraged by the Duke of Argyll, he moved to London where he was not only patronised by Scots, but became well known in literary circles and the friend of Pope, Gray, Thomson and others. He is buried in Grey Friars Church, Edinburgh.

This painting is a good example of Aikman's accomplished mature style when he was emulating Sir Godfrey Kneller, Principal Painter to the King, in the hope of succeeding him.

SIZE:38 x 33 inches inc. frame
PROVENANCE: by descent, Scottish private collection. Verso: early 20th c. trade label: 'Doic, Wilson & Wheatley. Picture Restorers to His Majesty the King. 90 George Street, Edinburgh.'
Ref: 8356
This item has been sold





SOLD....Portrait of Jane Bickerton, Duchess of Norfolk (?), Circle of Lely c.1678
Oil on canvas in a period carved and giltwood frame.

This beautiful portrait of 'cabinet size' is thought to be of Jane Bickerton; (the 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner, and only their closest friends would be admitted).
The painting has a great theatrical sense of movement and solidity, using a combination of drapery and pose. this portrait is a perfect example (on an unusually small scale) of Lely's late portraiture with its unashamed courtly sensuality.
The pose in this painting seems to have been reserved by Lely and his Studio for the portraiture of courtesans and mistresses.

JANE BICKERTON, DUCHESS OF NORFOLK (1643/4 - 1693).
Mistress, then wife, of Henry Howard, the 6th Duke of Norfolk, Earl Marshal of England. She was the daughter of Robert Bickerton, Gentleman of the King's Wine Cellar and his wife Anne Hester.
Jane had lived with Norfolk since the death of his first wife in 1662. They had four children and some time before 18 January 1678 they married, causing protests from Norfolk's legitimate children.
Bickerton represents a rare example of a woman of relatively modest background marrying into the highest level of the aristocracy.
After Norfolk's death in January 1684 she married Thomas Maxwell, Quartermaster-General to the army.



SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 29 x 21 inc. frame

PROVENANCE: Anonymous sale, Christie's 16 June 1967.
Then forty two years in a private London Collection.
Ref: 8512
This item has been sold





SOLD....Portrait of a Young Boy as an Artist, late 18th c; Follower of François-Hubert Drouais
Oil on canvas in a gilt frame of late 18th c. type.
The good looking boy is dressed in the fashionable clothes of aristocratic children of the period and, holding his palette, turns away from the portrait he is painting to look at the viewer.
His rather thoughtful gaze and slight smile enhance the charm of this beautiful portrait.

FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.

SIZE: 30 x 25 inches inc. frame.
PROVENANCE: French Private Collection.
Ref: 8513
This item has been sold





SOLD....Portrait of Thomas Robinson; 17th c. English School
Oil on canvas in good quality 18th c. carved and giltwood frame; the sitter painted within a feigned oval.

Bears the inscription 'Thomas Robinson of Rookby Park in the County of York Esq' below the Robinson coat of arms.
To the bottom left the numeral '4' (probably an old inventory number). Upper left, faintly visible, another Robinson armorial bearing, painted over.

Before buying Rokeby from Sir Thomas Rokeby in 1610 the Robinsons lived for generations at the White Hall, Kendal. Rokeby Park (which is actually just across the Yorkshire border in County Durham) was rebuilt in the 18th c. as a Palladian mansion.
In the 19th c. Sir Walter Scott wrote his epic ballad 'Rokeby' there.

THOMAS ROBINSON was born in 1590, son of William and Mary Robinson (daughter of Thomas Hill of Thornton, Yorks). He had a brother John (who became Vicar of Burminster, Yorks) and a sister Catherine (who married firstly Percival Philips and secondly Richard Smith).
Thomas married at Rokeby in 1621, his wife was Francis, daughter of Leonard Smelt of Kirkby Fleetham, Yorks; they had eight children.
Thomas was a barrister and in the Civil War he supported Parliament, believing right was on their side.
At his own expense he raised the Private Parliamentary Army; in June 1643 he was killed by the Royalists in a skirmish at Leeds. Presumably this was in the build-up to the Battle of Adwalton Moor near Leeds on June 30 when the Earl of Newcastle's army smashed the Parliamentary forces under Sir Thomas Fairfax.

SIZE: 36.5 x 31.75 inches inc. frame

CONDITION:In good uncleaned 'country house condition' with a soft, mellow colour caused by the slight yellowing of the old varnish. Old relining, some small areas of old retouching to forehead and the left of the breastplate. Moderate craqueleure.

PROVENANCE: by descent through the family
VERSO: old label 'John Perfect Esq, Bovevagh, Great Missenden, Bucks'.

Height: 36.5 in. (92.71 cm)
Width: 31.75 in. (80.64 cm)


Ref: 8504a
This item has been sold





SOLD....Portrait of a Lady c.1775; French School
Oil on canvas in giltwood frame.

A charming portrait of an attractive, aristocratic young French lady dressed in the elaborate style so soon to be swept away by the French Revolution.

The sitter's identity is lost, so whether she survived the Terror or perished on the scaffold will never be known; perhaps she fled to England as did many at that time
. The artist was clearly influenced by Francois-Hubert Drouais (1727-1775) who trained under Boucher and was strongly influenced by his style, his portraits have a gracious and slightly artificial charm redolent of the French Court.

SIZE: 28 x 22.5 inches inc. frame.
CONDITION: Old relining; stretcher marks to the edges; mild craquelure; old retouching visible in the background, particularly above her right shoulder. Frame damaged.
PROVENANCE: From a Private Collection in an Oxfordshire country house.
Ref: 8504
This item has been sold





Portrait of a Gentleman c.1685; Attributed to John Kerseboom
Oil on canvas in 'cassetta' frame.

The fashionable and expensively dressed sitter looks confidently out of the frame as if surveying his extensive lands.
His high wig (from which fashion came the expression 'big-wig' for someone important), his silks, his sword and particularly his stance, all make this the archetypal Baroque swagger portrait.

The pose and treatment of the material are typical of Kerseboom.

JOHN (JOHANN) KERSEBOOM (working 1680s - 1708) Born in Solingen, the Rhineland; came to England in the 1680s he quickly acquired a large portrait clientele. His patterns derive from Lely and Kneller, but his heads have recognisable individuality. He charged £16 10s for a framed 50 x 40 in 1694.


SIZE:48 x 39 inches canvas size.
57 x 47 inches inc. frame.

PROVENANCE: Private collection in an East Anglian Elizabethan country house.
Ref: nlfk3
This item has been sold





SOLD....Portrait of a Lady 1920s, by Thomas Cantrell Dugdale
Oil on canvas, signed lower right.

There is a theatrical as well as a society air to this beautiful portrait of the 1920s.

Verso is in a more modern label which gives the name of a former owner, Patricia Dunham.


In our portrait the sitter is glamourously attired in cloche hat, elbow length gloves, double string of pearls and fur coat draped over her knee in a style typical of the late 1920s.
This is a superb portrait, painted with all the 'brio' you would expect from Dugdale, yet extremely sensitive in its characterisation of the sitter. This painting is absolutely redolent of its period.

THOMAS CANTRELLE DUGDALE RA (1880-1952) had a flourishing career as a society portrait painter and in the National Portrait Gallery there is his painting of the young actress Wendy Hillier, in strident pose, wearing jodhpurs and open shirt. Recently another of his portraits, of the actress Jessie Matthews is believed to have been purchased by Andrew Lloyd Weber.
Dugdale's work is also in the Tate, Courtauld Istitute of Art, Manchester City Art Gallery and other collections.

SIZE: 41 x 33 inches inc. frame.
PROVENANCE:
*Painted for the Dunham family and in their possession until sold some years ago. In the family it was known as "The Roaring 20's"; the sitter's name seems to be lost.
{information from Martyn Dunham, great great nephew of TC Dugdale.)
*A private collection in an East Anglian Elizabethan country house.



Ref: nrfk6
This item has been sold




SOLD....Portrait of a Lady 1931, by Flora Lion
Oil on canvas, signed and dated upper right.

A superb and insightful portrait of a young woman, relaxed and lost in thought.


FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.

During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.

She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.

SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.
Ref: nrfk7
This item has been sold




SOLD...Mediaeval carved oak angel
This very rare survival from the Middle Ages shows all the signs of often turbulent English history.

A guardian angel from a Derbyshire church, it was carved c.1480-1500, and brutally savaged by either Reformist zealots in the mid 1500s or by Puritans during the Civil War of the mid 1600s.

Even with its wings hacked off and the scars of swords or axes defacing the wood the angel still conveys a sense of peace.

This ancient carving is so evocative of its 500 years of history, standing, head bowed, with a battered resilient beauty.

SIZE: 42 inches tall.
PROVENANCE: An Elizabethan manor house in Norfolk.
This item has been sold



 
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