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Our website was last updated on: 22 June 2017
 
(B) PORTRAITS SOLD
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Portrait of Justina van Teylingen c.1613; Studio or Circle of Cornelis van der Voort
SOLD....Oil on panel in reproduction frame of correct type.

JUSTINIA VAN TEYLINGEN (1596- 1643) was married to Adriaen de Kies van Wiessen in 1613 when she was seventeen.
This is a contemporary half length version of the three-quarter prime version painted by van de Voort to commemorate her marriage. Studio versions were often made as gifts for relatives.

CORNELIS VAN DER VOORT or van der Voorde (Antwerp 1576 - Amsterdam 1624) flourished as a portrait painter in Amsterdam from around 1614 to his death in 1624.
This painting is an excellent example of his portraits popular with wealthy Dutch burghers. Justinia is soberly but richly dressed in a lace-trimmed cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, embroidered stomacher, black skirt and long black vlieger overgown. The latter denotes that she is a married woman and was worn with great pride. A heavy gold chain hangs from her neck.
Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.

The artist invests the portrait with great dignity. He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex golden stitches which create the pattern of flowers and leaves on the stomacher.
Black was the high fashion of that era and this portrait rises to the challenge of painting black on black to depict the floral pattern of the vlieger overgown. Standing solidly in space, beautifully moulded by light, the portrait has a lively human presence. The armorial bearings of Justinia and her husband are depicted in the background.
Van de Voort's work was in great demand and held in high esteem. In 1619 Van der Voort was the head of the Guild of St. Luke. He had a strong influence on the early portraits of Rembrandt, as well as the work of Nicolaes Eliasz. Pickenoy and Thomas de Keyser. His own students included David Bailly, who copied his collection of paintings, Pieter Luyx, Dirk Harmensz. and probably Pieter Codde...all artists of note.
SIZE: 36.5 x 31.5 inches inc. frame PROVENANCE: French private collection. Verso: an indistinct red wax collection seal.
This item has been sold





SOLD...Double portrait of two boys c.1740; English School
Oil on canvas in period carved and giltwood frame.

This charming double portrait is full of symbolism easily understood by the 18th century viewer; it depicts two brothers in the mythological land of Arcady or Arcadia. For some time it had been very fashionable, for adults as well as children, to be depicted as shepherds.
The lambs are a traditional symbol of innocence and virtue, in which guise they fit perfectly into Arcadia, the land from which all guilt and sin have been banished.
The dog represents loyalty and obedience, character traits considered desirable in the young.
The bird represents the transience of life, and especially youth, as it can easily fly away.
As guardian of the flock, the older brother holds the shepherd's crook and his arms are protectively around the younger boy.

The artist is an unknown provincial; although he has been influenced somewhat by the fashionable portrait painter Charles Jervas his style has a direct, rather naive quality which has great appeal. Double portraits of children are most uncommon and this one pleases in several ways..not least in the amusing depiction of the fluffy lambs!

SIZE:50.5 x 41.75 inches inc. frame
PROVENANCE: For many years the property of a recently deceased noted collector in Bath, Somerset
Ref: 8518
This item has been sold





SOLD.....Portrait of a Gentleman c.1720; Circle of Kneller
Oil on canvas in original carved and giltwood frame.

A good quality early 18th century portrait by a member of Kneller's Circle, or possibly his Studio.
The artist, not as yet identified, had considerable talent.

The expensively dressed and wigged man (quite literally the local 'bigwig'!) gestures with his right hand towards what one presumes is his land and the flocks of sheep. Wool, the source of his wealth.

SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King. He maintained a busy studio with talented assistants to help with the demand for his work.

SIZE:58 x 48 inches inc. frame.

The frame is in basically good condition, with some signs of damage at the front, and there are a large number of old and inactive woodworm holes to the back. These do not affect the integrity of the frame and are harmless. Extensive losses to the gilt.

PROVENANCE: This portrait, with others of the same family, hung for many years in a large house in Essex until December 2009.
















Ref: 8519
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SOLD....Portrait of Lady Margaret Mennes (born Stewart) c.1620; attributed to Cornelius Johnson
Oil on panel in a fine quality carved and giltwood frame.

This beautiful painting is, as Waterhouse wrote of Johnson's work, 'very sensitive to character and beautifully drawn and meticulously painted'.
Johnson's portraits are often within a feigned oval, as is this one.

LADY MARGARET STEWART (STUART), later LADY MARGARET MENNES, was the daughter of John Stewart, 1st and last Earl of Carrick and Lady Elizabeth Howard, Maid of Honour to Queen Elizabeth I. John Stewart was the younger son of Robert Stewart, 1st Earl of Orkney, illegitimate son of King James I of Scotland and half-brother to Mary Queen of Scots.

Lady Margaret married Sir Matthew Mennes, bearing him a daughter, also Margaret, in c.1624.
This daughter married Sir John Heath and their daughter, another Margaret, married George Verney, 12th Baron Willoughby de Broke.

CORNELIUS JOHNSON (also known as Jansen or Jonson Van Ceulen) 1593-1661 was born in London, the son of Flemish emigres.
Johnson is the most satisfying and 'English' of the portraitists working in England in the 1620s and 30s. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.
His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the gentry and lesser nobility. His style is easily identified by its coolness and restraint.

In 1632 he was made Painter to the King, but his wife's fears of the approaching Civil War caused him to retire to Holland in 1643 where he called himself Jonson van Ceulen.

SIZE: 29 x 24 inches (panel)
35 x 30 inches (frame)

PROVENANCE: Verso; 2 old remover/storers labels, both of Leamington Spa. One inscribed "No.245. Drawing Room. Customer's name: Ld. de Brooke".
Sotheby's chalk inscription "10.7.85".
It seems the portrait descended through the Willoughby de Broke family until the death of the 20th Baron in 1985 when it was sold at Sotheby's, 17 July. lot 21.

Inscribed upper left and right, also on a plaque on the frame, with an incorrect attribution to Honthorst.
Ref: 8520
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SOLD...Portrait of Mary, Queen of Scots (1542-1587), After Nicholas Hilliard, c.1700
After Nicholas Hilliard, c.1700
Portrait of Mary, Queen of Scots (1542-1587), half-length, in a white dress, ruff and lace cap, with an ermine cloak, a bible in her left hand, in a feigned oval
inscribed 'VIRTUTIS AMORE' (upper centre)
oil on canvas in early 18th c. carved wood frame
30 x 25 in. (78.2 x 63.5 cm.)

PROVENANCE:
Miss Wilbraham by 1907;
and by descent to Roger Wilbraham by 1957.

LITERATURE
Burlington Magazine, Notes on Various Works of Art, Vol. XII, December 1907, pp. 163-164.

After the miniature by Nicholas Hilliard in the collection of the Duke of Portland, Wellbeck Abbey, Nottinghamshire (see R.W. Goulding, The Wellbeck Abbey Miniatures, Oxford, 1916, plate I, note 8). The inscription 'VIRTUTIS AMORE, has been interpreted as an anagram for 'Marie Stouart'.
This item has been sold





SOLD....Portrait of a Young Boy and his Spaniel c.1710, by Charles D'Agar
A fine quality oil on canvas in original carved and giltwood frame.

This charming portrait depicts a young aristocrat wearing the fashionable 'banyan' or loose robe favoured for relaxation at that time. Equally fashionable was the ostrich feather trimmed tricorne hat and the cravat tied 'a la Steinkirk'.

(During the wars of Louis XIV of 16891697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the lace of fringed ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)

The boy stands on a stately terrace with an Italianate garden behind him; the beautifully painted Spaniel playfully crouching at his feet was probably a pet but is also a symbol of fidelity and trust.

CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.

D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
This portrait is strongly reminiscent of a portrait of Lord George Douglas in the collection of the Dukes of Buccleuch, which was painted in 1709. Payment of 16 2s 6d was paid for this.

SIZE: 58 x 49 inches inc. frame.
PROVENANCE: a country house collection in the South West of England
Ref: 8524
This item has been sold




SOLD...Portrait of a bibliophile; English School, 17th Century
English School, 17th Century
Portrait of a bibliophile, half-length, seated in a library with a folio, a seal in his left hand
inscribed 'HISTOR. THE FIFTH' (on the book)

oil on canvas in carved and giltwood period frame

The inscription 'HISTOR. THE FIFTH' on the folio in this portrait could relate to a reprint of Shakespeare's Henry V by the likes of a stationer such as Robert Allot or Thomas Cotes (both of whom published the Second Folios of Shakespeare's plays in the 1630s).
The costume of the sitter would appear to date to around the 1630s-1640s, but the handling of the paint itself would suggest that the picture is likely to date to the second half of the 17th Century.


CANVAS SIZE: 43 x 58 in.
PROVENANCE: Rev. Warrington of Bath; Christie's, London, 30 April 1951, lot 103 as 'Jackson'.
This item has been sold




SOLD...Portrait of a Lady c.1665; by Jacob Huysmans and Studio
Portrait of a Lady c.1665 by Jacob Huysmans and his Studio, in carved and giltwood frame.

Jacob Huysmans (c.1633-c.1696) was born in Antwerp and came to England after the Restoration. By 1664 he was Court Painter to Catherine of Braganza (Queen to Charles ll). Painting mainly for the Catholic Queen and her Ladies-in-Waiting, Huysmans employed Continental Baroque conventions (cherubs, lambs etc).

In this portrait, whilst cherubs acclaim the youth and beauty of the sitter, she rests her elbow on a skull - the classic Baroque 'Memento Mori'- and ignores her jewels. The message of the painting being that youth, beauty and wealth are all transient and one should never forget the spiritual aspects of life.

The pose of head on hand was long associated with piety, contemplation and learning as well as fashionable melancholia. It also draws on the iconography of Mary Magdalen, as the saint was often depicted in this pose as she pondered on her transition from the pleasures of the flesh to a spiritual life. (There was a fashion in the 1660's and 1670's for elegant Court ladies to be depicted as saints).

The sitter's hair has been let down from the formal ringlets then in vogue - this signifying relaxation and intimacy.
This is a fine quality painting containing fascinating iconography of the period.


Provenance: a Nottinghamshire Private Collection.

Size: 56 x 46 inches inc. frame.

Ref: 8231
This item has been sold




SOLD...Portrait of a Lady c.1700 by a Follower of Kneller
Oil on canvas in gilt frame.

A spirited and honest portrait by a very competent artist strongly influenced by Kneller.

Sir Godfrey Kneller (1646-1723) was the dominant court and Society portraitist of his age, becoming Principal Painter to the King in 1688. His influence on English portraiture was profound, continuing long after his death.

Provenance: a Somerset private collection.
Size: 32 x 28.5 inches inc. frame.

Ref: 8336
This item has been sold





SOLD....Portrait of Mary Dowdeswell c.1695; by Michael Dahl
Oil on canvas in feigned oval within rare William Kent architectural carved and gilt frame c.1740, the sides decorated with finely carved oakleaves and acorns. The reverse of the frame bears old dealer's labels with the name of the sitter, the provenance and an erroneous attribution to Highmore.

The DOWDESWELLS are an old Gloucestershire family where they lived at Pull Court near Tewksbury from the 15th to the 19th century.
In the 19th c. the house was sold and is now a school.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
At his best he was a finer portraitist than any of his contemporaries, with a softer and more gentle technique than Kneller's, which was especially suitable for his portraits of women.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here Mary looks out at the viewer with a quiet and intelligent good humour...in every way this is a superb painting.

Size: 35.25 x 26.75 inches canvas size.
43 x 34.75 inches inc. frame.



Provenance: by descent through the Dowdeswell family of Pull Court.
with Frost and Reed of St. James's, London.
with Anderson Galleries, Chicago.
American Private Collection.
(Verso: old dealer's labels).

NOTE- PRICE DOES NOT INCLUDE SHIPPING
Ref: 8358
This item has been sold



 
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