Portrait of Captain Mackinley c.1830, by Sir ...

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Oil on canvas in the original very fine frame.
This is an excellent portrait typical of the period; the handsome sitter has a fashionable brooding, Byronic look, with the dark background enhancing the drama and encouraging the viewer to concentrate on the sitter's face.

The sitter is thought to be Thomas George MacKinley (1809-1865); he was the son of John Mackinley and Maria Cates. Born in London, he was an officer in the Royal Navy, becoming a captain in July 1830.
The Mackinleys are related by marriage to the eminent Copeman and Boord families with connections to Wakehurst Place, Sussex.

SIR WILLIAM BEECHEY RA (12 December 1753 – 28 January 1839) was a leading English portraitist during the golden age of British painting. Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). Beechey’s career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds.
In 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. That same year, he was elected as an associate member of the Royal Academy. Following his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year’s academy’s exhibition. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. The king was reported to be delighted with the painting and rewarded Beechey with a knighthood.[ Joseph Farington's Diaries give many accounts of Beechey's relations with the royal family during this period, including his temporary fall from favour in 1804, which Farington attributes to the vagaries of George III’s mental condition.
Beechey's portraits of the turn of the century are considered to be his most lively. They are closer to the flamboyant and free techniques employed by his younger rivals, John Hoppner and Sir Thomas Lawrence.
Royal patronage resumed in around 1813, when Beechey was appointed portrait painter to Prince William Frederick, Duke of Gloucester, and culminated with his appointment in 1830 as principal portrait painter to King William IV. In 1836, Beechey retired to Hampstead and on 9-11 June that year, the contents of his studio along with his collection were sold at Christie’s.
Although capable of impetuousness and irascibility, Beechey was known for his generosity to students. In particular, he took a close interest in the career of the young John Constable.
SIZE: 37.25 x 32 x 3.5 inches including the frame.
PROVENANCE: By descent to the estate of the Copeman family.
VERSO: faded old paper label and a copperplate inscription "Painted by Sir William Beechey".

Portrait of a Young Lady c.1835, Circle ...

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Oil on canvas in a period giltwood frame.
A charming portrait of an attractive young woman painted during the reign of King William IV.
The sitter wears a bright red rose in her hair, in the Language of Flowers this signifies romantic love. She holds to her breast a white rose; white roses mean purity and innocence. They can be used to show that you feel that your love is pure and that you believe the recipient to be pure. White roses also mean you are loyal.
It seems likely that this portrait was commissioned to commemorate a proposed marriage, at this time engagement rings were not always worn.

SIR MARTIN ARCHER SHEE (b Dublin, 20 Dec. 1769; d Brighton, 19 Aug. 1850). Irish portrait painter and writer on art, active from 1788 in London. There he became second only to Sir Tomas Lawrence as the leading society portraitist, painting members of the Royal Family and other aristocrats. His work was very much influenced by Lawrence, and he had a very active Studio and Circle. In 1830 he succeeded him as President of the Royal Academy, which he guided through a difficult period when it was under attack from Haydon and other disaffected artists. Examples of his work—which in style lies between the brilliance of Lawrence and the precision of West—are in the National Portrait Gallery, London.

SIZE: 34.5 x 29.25 x 3 inches including the frame.
PROVENANCE: A long standing private collection in Devon.

Portrait of a Gentleman c.1735; Attributed to ...

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Oil on canvas in a period carved and giltwood frame.

The young man looks directly at the viewer, his wig fashionably tied in a club.

This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.
Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."

WILLIAM VERELST (active 1734-c.1756) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and William.
William was a painter of portraits and conversation pieces; he was said to be the best portraitist of the Verelst family.

SIZE:36.5 x 31 inches.
PROVENANCE: Collection of a Lady, Northumberland.

Portrait of a Lady c.1700; Circle of ...

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Oil on canvas in a rare original silver gilt frame. For a time silver gilding was very fashionable but when it went out of favour many frames were re-gilded.
This one survived.
These images give the viewer this is the conventional canvas size of 30 x 25 inches, but in fact it is 13.5 x 11.5 inches.
This was created as an intimate item, for a close friend or lover, who would have kept it in the private room known as a 'cabinet' where few would have been invited.

SIR GODFREY KNELLER (1646-1723) studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter to the King, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715.
His work fully expresses the spirit of the English Baroque, and his influence on other artists was great.
SIZE: 18.75 x 16.5 inches including frame.
PROVENANCE: Sussex private collection.


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Joined armchair, South-West Yorkshire, 1650 - 1700. The chair stands on typical 'gun barrel' legs.

"The most distinctive 'signature' of the Dales armchair is the broad curly profile of the double-scrolled pediment crest, in which the scrolled earpieces are an integral part of the design." ('Oak Furniture: The British Tradition' by Victor Chinnery).
This chair is of good quality, with typical West Riding carving and good colour, but constant use over the centuries has inevitably left its marks.
As these once high status chairs became unfashionable in the 18th century they moved down from gentry houses to farmers and small merchants then into cottages, often being badly treated.
This example has been restored and reconstructed and is firm, solid and ready to use for another 300 years.

DIMENSIONS:45 inches tall, 22.5 inches wide, 23 inches deep.
PROVENANCE:London Private Collection.

Portrait of a Young Boy 1711, by ...

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Oil on canvas in period carved and giltwood frame.
Signed and dated lower left 'Jon. Verelst. P:1711'.

This charming portrait depicts a young boy wearing the fashionable, and expensive, 'banyan' or loose robe favoured for relaxation at that time.

JOHN VERELST (active 1698-1734) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and Willem.
John married Ann Tureng at St. James's in 1692. His signed and dated portraits range from 1699-1734. He always signed with a curly 'V'.

SIZE:37 x 31.5 inches inc. frame.
*Collection of Lady Rook of Sussex and London.
(Lady Rook, 1915-2003, was the widow of Sir William James Rook;she was the former Beryl Mary Rosalie Stait-Gardner of Kensington, London).
*With Roy Precious Fine Art.
*Private Collection, Lancashire

VERSO:late 19th c. trade label "J.A. Cooling & Sons, Dealers in Works of Art. 92, New Bond street, London".

Portrait of a Lady c.1685: Circle of ...

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Oil on canvas in a very fine Italian carved and giltwood frame.
This excellent painting is a good example of the art of the Baroque period, with great care give to the depiction of the sitter's expensive silks and lace.

Adriaen Hanneman (c. 1603 - buried 11 July 1671) was a Dutch Golden Age painter best-known today for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck.
He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn

SIZE:43 x 37 inches inc. frame.
PROVENANCE: From a Belgian chateau and by descent.


Portrait of an Officer c. 1770; by ...

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Oil on canvas, later mounted on board, in a gilt mount and frame.

This is a charming small portrait, painted with almost a miniaturist's skill, of a British officer of the 1770s; probably painted in India. The sitter has the serene and assured poise typical of Kettle's portraits. The size makes it likely that it was a gift to a wife or fiancée, sent via ship from India to Britain.

TILLY KETTLE (1735–1786) was a portrait painter and the first prominent English portrait painter to operate in India.
He was born in London, the son of a coach painter. He studied drawing with William Shipley in the Strand and first entered professional portraiture in the 1750s.

Kettle's first series of portraits appeared in the 1760s. His first surviving painting is a self-portrait from 1760, with his first exhibit with the Free Society of Artists in 1761. In 1762, he worked at restoring Robert Streater's ceiling paintings in the Sheldonian Theatre, Oxford, and painted Francis Yarborough, a doctor of Brasenose College, Oxford in 1763. He painted many members of the family of William Legge, 2nd Earl of Dartmouth. In 1764-5, he was active in London and continued exhibiting at the Society of Artists.

In 1768, Kettle sailed to India with the British East India Company, landing at Madras, where he remained for two years. There, he painted Lord Pigot and Muhammad Ali Khan twice (once alone and once with five of his sons). In 1770 Kettle painted a half-length portrait of 'Sir' Levett Hanson, a peripatetic writer on European knighthood and chivalry originally from Yorkshire. (The portrait is now in the collection of the Bury St Edmunds Manor House Museum.)

Kettle moved on to Calcutta in 1771. In 1775, he painted George Bogle, Warren Hastings' emissary to Tibet, in Tibetan dress, presenting a ceremonial white scarf to Lobsang Palden Yeshe the 6th Panchen Lama. He also took an Indian bibi or mistress and had two daughters by her, Ann and Elizabeth.

He left India in 1776 for London, travelling on the ship Talbot. On his return, he swiftly married Mary "Polly" Paine (1753–1798) on 23 February 1777. Mary was the younger daughter of the architect James Paine and half sister of the sculptor James Paine. She brought a dowry of £5,000, while Kettle put up £3,000 toward a trust fund, set up in a pre-nuptial settlement, dated 22 February 1777, the day before their wedding, so both parties were well established. The couple had two children, a daughter, Mary, and a son, James. At the same time, he switched his exhibitors to the Royal Academy of Art. He had fewer clients in England than he had before his departure, and contemporaries claimed his wife was financially imprudent. He fell into debt, and spent some time in Ireland to escape his financial problems.

In 1786 he set out for a return to India. He attempted the voyage overland through Asia. His last portrait, The Turkish Janissary of the English Factory, Aleppo, was painted in Aleppo, and he died some time later, although where and when is unclear, possibly in the desert on his way to Basrah before the end of 1786.

SIZE: 13 x 11 inches including the frame.
PROVENANCE: Surrey Private Collection.

Double Portrait of a Lady and Gentleman ...

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Oil on canvas now mounted on board in fine period carved and giltwood frame.

This type of small scale portrait is known as a conversation piece and .."was the first real break with the stereotyped portraiture of the early 18th century. It was essentially a private rather than a public art form.
The aim of the coversation piece was to catch the sitter with family and friends in action, and Hogarth, a friend of Hayman's, succeeded extremely well at this." (Francis Hayman by Brian Allen).

Hogarth was a positive influence on Hayman as he had demonstrated that there was a good market for the small scale conversation piece.

In this portrait the male sitter has discarded his wig and wears a velvet cap of the type associated with artists, writers and other creative people. He also wears an expensive silk 'tea gown' to emphasise his relaxation at home. It is clear that the world of literature is being emphasised...a door opens onto a library, more books are on the table and the lady holds a volume with her finger marking her place.

The middle class panelled room is typical of Hayman and occurs many times in his conversation pieces and are, more often than not, a version of his own panelled studio.

FRANCIS HAYMAN R.A. (c.1708-1776) was born in Devon and painted scenery as well as genre, historical subjects and portraits. He had a successful career producing conversation pieces, theartical portraits and small full lengths through the 1740s and 50s, although he also painted on the scale of life. He helped in the foundation of the Society of Artists in 1760 and was President 1766-68; after which he became a Foundation Member of the Royal Academy, and its Librarian in 1771.
Among the pupils in his studio were Thomas Gainsborough R.A. and Nathaniel Dance R.A.

SIZE: 30 x 35 inches inc. frame.
PROVENANCE: Verso, handwritten label "Property of Major J.M.D. Wyatt, Roberstbridge House, Robertsbridge, Sussex"
The late major was the last member of the family which had connections with the D'Obrees in Guernsey.


Portrait of Elizabeth Ogle, Circle of Michael ...

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Oil on canvas in a fine carved and giltwood period frame c.1695.
ELIZABETH OGLE, (later Elizabeth Case), baptised 1674, was a member of a notable Lancashire gentry family of ancient origin. This portrait was very probably painted on the occasion of her marriage to Jonathon Case.
A parrot demonstrated the wealth of the sitter able to own such an exotic creature from non-European lands, and it wasn’t just the live birds that were valued, the plucked feathers of parrots were valued too.
Also...curiously...the parrot symbolised virginity. This was probably because of its association with the Virgin Mary in earlier art.

OGLE OF WHISTON. Arms: Argent, a fesse between three crescents gules.

The Ogles appear in Lancashire in the middle of the fifteenth century as stewards of the manor of Prescot. John Ogle, the earliest known, is said to have been a son of Sir Robert, first Lord Ogle, who died in 1469. Early in 1472 John Ogle of Prescot purchased lands in Rainhill from John, son and heir of Hugh Woodfall. Margaret, widow of John Ogle, and Roger their son purchased lands from John Travers, and the family continued to prosper, becoming possessors of the manors of Whiston and Halsnead, the purchaser being John Ogle.

John's son and heir Henry, born about 1586, married in 1610 Elizabeth, daughter of Robert Whitby of Chester, and had by her a numerous offspring. He died about 1649, but does not seem to have taken any part in the Civil War. Two of his sons, however, took arms on the king's side. Cuthbert, the eldest, received a commission from the Earl of Derby, but soon retired, and in 1646 took the National Covenant in London and compounded for his estates by a fine of £120. Henry his brother, holding a similar commission, took part in the defence of Lathom House.

Cuthbert died in 1670, the heir being his son Edward, whose daughter and eventual heir Elizabeth carried the manor to her husband Jonathan Case, of the Red Hazels in Huyton. About the beginning of last century the manor was held by Richard Willis of Halsnead, to whose heirs it has descended; but the hall was then in the possession of John Ashton Case, a Liverpool merchant, great-grandson of the above-named Jonathan.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London. 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'.

SIZE: 44 x 36 inches including the frame.
PROVENANCE: By descent through the family of the sitter. VERSO: old handwritten labels by Mary Radcliffe (bearing incorrect dates) and Thomas Edward Case.

Portrait of Phillipa Speke, later Lady Trenchard, ...

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Oil on canvas in a gilded 19th century frame. (Frame has some small losses and a damage to the lower right).

At a glance this could be by Mary Beale; the pose and especially the feigned stone oval are characteristic of her work. However, the pose and oval were used by several artists, most notably Sir Peter Lely.
When the painting went for conservation a hardboard backing was removed and, painted on the lining, in what appears to be an 18th century hand, is an inscription naming the sitter as Miss Trenchard, painted by William Wissing in 1682.

Below are excepts from research by Adam Busiakiewicz, art historian:-

" I believe that your portrait very likely to be Philip(a) Trenchard , wife of Sir John Trenchard (1649-1695).

I believe Sir John's wife, Philip(a) daughter of George Speke esq. of Whitelackington, is the best candidate.

She was born in 1663/4 and married Sir John in 1682 - the year that this portrait was made. I think that this portrait was probably made to celebrate their marriage,

I think that there is little doubt that this is a picture by Wissing, dating to 1682.
The quality of the picture is rather good, with lots of character in the face. The blushing cheeks are well painted too. It has far more depth that a Beale. I have attached a few comparisons.
Wissing did paint decorative ovals, although far less often than Beale.
The drapery is good too and lacks the solidity you find in Beale.
The strong political connections between Sir John Trenchard and William III, who was eventually painted by Wissing many times, makes this connection rather interesting.
Of course, we have lots of portraits of William and Mary that Wissing produced from his studio with great speed. One often finds that Wissing eventually settled down into a rather stiff and formulaic manner (as many court painters often did), but, this particular portrait is filled with character and freshness."

SIR JOHN TRENCHARD (30 March 1649 – 27 April 16950 was one of Stuart England’s most accomplished and controversial aristocratic statesmen or “principal secretary of state for life”.
He belonged to an old Dorset family. He was born on 30 March 1649 at Lytchett Matravers, near Poole, to Thomas Trenchard of Wolverton (1615–1671), and his wife Hannah née Henley (d. 1691). His grandfather was Sir Thomas Trenchard of Wolverton (1582–1657), who was knighted by James I in 1613. John Trenchard entered Parliament as member for Taunton in 1679. He associated himself with those who proposed to exclude the Duke of York from the throne, and attended some of the meetings held by these malcontents. It is possible he was concerned in the Rye House Plot. In fact, he was arrested at one of the events in July 1683, but no definite evidence was brought against him so he was released.
When Monmouth landed in the west of England in June 1685, Trenchard fled from England to Groningen, Netherlands. Around 1687-1688, he was pardoned , and able to return home. Again he entered Parliament, but he took no active part in the Revolution of 1688, although he managed to secure the good will of William III. On 29 October 1689, he was knighted by the King, and made Chief Justice of Chester. In 1692, he was appointed Secretary of State.
On 10 November 1682, he had married: Philippa Speke (1664–1743), daughter of George Speke of White Lackington, Somerset.
Sir John died on 27 April 1695 at Kensington, London, and is buried at Bloxworth, Dorset.
Phillipa remarried and lived for another 50 years.

WILLIAM WISSING (1656 - 1687) After Lely's death in 1680, Wissing emerged as his most important pupil. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and the Duke of Monmouth.

SIZE; 39 x 34 inches inc.frame.
PROVENANCE: descent in a Dorset family. (It is plausible that this of portrait might have descended down with the Trenchard family, of Lychett Maltravers, Dorset)

Portrait of Charles Bertie III, 1723; ...

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Oil on canvas in a George III carved and gilded gadrooned frame.
Inscribed, upper left, 'Chas. Bertie Esqr; Aetatis 19, 1723./of Uffington, in the /County of Lincoln', and with the sitter's coat of arms (showing three battering rams) and motto 'VIRTUS ARIETE FORTIOR' (Virtue is stronger than a battering ram. 'Virtue' here may also be interpreted a 'valour' or 'heroism'.)

CHARLES BERTIE III, painted here in 1723 at the age of 19, He died in 1754.
The Berties are an English aristocratic family headed by the Earl of Lindsey and Abingdon. Between 1715 and 1809 the head of the family held the title Duke of Ancaster and Kesteven. Over the centuries many members of the family were highly successful soldiers and often had an involvement in politics. Unlike his grandfather and father (both called Charles) the sitter had no interest in a parliamentary career.

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.

SIZE: 36.5 x 32.5 inches inc. frame.
PROVENANCE: By direct descent in the sitter's family to Montague Peregrine Albemarle Bertie, 12th Earl of Lindsay (1861-1938), and by descent to his daughter, Lady Muriel Felicia Vere Barclay-Harvey (1893-1980) of Ayton Castle, Berwickshire.

Verso: a torn inscription giving information on the sitter, and an old pencilled inscription on the stretcher 'No.32, 1st half-landing'.
A plaque on the frame misidentifies the sitter as Charles Bertie II, in fact that was his father.