Portrait of Elizabeth Ogle, Circle of Michael ...

Item Ref
9096

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.
£4,350

Portrait of Philippe II, Duke of Orleans ...

Item Ref
8955

Oil on canvas in a good quality reproduction frame.

This is a superb quality painting, the depiction of the various materials...silk, lace, gold, steel, hair and flesh is exquisite. Hands are often problematic with lesser artists but here they are totally realistic.
The Duke wears the Bourbon white silk sash and holds the baton of command of a high ranking officer.

PHILIPPE II, DUKE OF ORLEANS (1674-1723), Regent of France, the son of Philip I, duke of Orleans, and his second wife, the princess palatine, was born on the 2nd of August 1674, and had his first experience of arms at the siege of Mons in 1691. His marriage with Françoise-Marie de Bourbon, Mlle. de Blois, the legitimized daughter of Louis XIV, won him the favour of the king. He fought with distinction at Steinkerk, Neerwinden and Namur (1692-95). During the next few years, being without employment, he studied natural science. He was next given a command in Italy (1706) and in Spain (1707-08) where he gained some important successes, but he cherished lofty ambitions and was suspected of wishing to take the place of Philip V on the throne of Spain. Louis XIV was angry at these pretensions, and for a long time held him in disfavor. In his will, however, he appointed him president of the council of regency of the young King Louis XV (1715). After the death of the king, the duke of Orleans went to the parlement, had the will annulled, and himself invested with absolute power. At first he made a good use of this, counselling economy, decreasing taxation, disbanding 25,000 soldiers and restoring liberty to the persecuted Jansenists. But the inquisitorial measures which he had begun against the financiers led to disturbances.

There existed a party of malcontents who wished to transfer the regency from Orleans to Philip V, king of Spain. A conspiracy was formed, under the inspiration of Cardinal Alberoni, first minister of Spain, and directed by the prince of Cellamare, Spanish ambassador in France, with the complicity of the duke and duchess of Maine; but in 1718 it was discovered and defeated. Dubois, formerly tutor to the duke of Orleans, and now his all-powerful minister, caused war to be declared against Spain, with the support of the emperor, and of England and Holland (Quadruple Alliance). After some successes of the French marshal, the duke of Berwick, in Spain, and of the imperial troops in Sicily, Philip V made peace with the regent (1720).

On the majority of the king, which was declared on the 15th of February 1723, the duke of Orleans resigned the supreme power; but he became first minister to the king, and remained in office until his death on the 23rd of December 1723. The regent had great qualities, both brilliant and solid, which were unfortunately spoiled by an excessive taste for pleasure. His dissolute manners found only too many imitators, and the regency was one of the most corrupt periods in French history.

Father: Philip I, Duke of Orléans
Mother: Elizabeth Charlotte, Princess Palatine (b. 1652, d. 1722)
Wife: Françoise-Marie de Bourbon, Mlle. de Blois (b. 1677, m. 1698, d. 1749)
Son: Louis, duke of Orléans (b. 1703, d. 1752)

JEAN-BAPTISTE SANTERRE (1651-1717)
Santerre was born at Magny-en-Vexin, near Pontoise. A pupil of Bon Boullogne, he began his painting career at a portraitist, with a notable work being a portrait of Marie Leszczynska with the Maison de St Cyr in the background (now at the musée de Versailles). He won a major reputation thanks to his academies. His most notable work is his Susanna Bathing (Louvre), the diploma work executed by him in 1704, when he was received into the Académie (1730–1770) and Jean-Honoré Fragonard (1732–1806). He painted the Duc d'Orleans on several occasions

SIZE: 52.5 x 51.75 inches inc. frame.
PROVENANCE: Private collection, East Kent.
£13,250

Portrait of an Officer c.1710; Attributed to ...

Item Ref
8894

Oil on canvas in the original high quality carved and giltwood frame.

A fine portrait of a military officer, almost certainly by Kneller. There is considerable quality here as can be seen, in the face, the hands (often problematic to many artists) and in the totally believable way the officer's clothing is painted.
Although this portrait has descended through one family for at least 160 years the identity of the sitter had been lost. In fact it had come to be believed that the sitter had been an officer in the Peninsular war of 1818-1814 and had served under Wellington! The clothes, the wig...in fact the whole portrait...clearly show a date 100 years earlier than that.
Unknown the sitter may be (although the family say his surname was Witherden) but this is an excellent portrait of the early 18th century.
It is a fine example of the Augustan style portrait for which Kneller is now best remembered. It dates from his later middle period (c.1710), when he produced his most distinguished paintings including the celebrated Kit-Kat series.

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, 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 includes penetrating studies of many of the leading figures of Whig Society such as the famous Kit-Kat portraits now in the National Portrait Gallery (Beningborough Hall, Yorkshire), which include the likenesses of Sir John Vanbrugh, Charles 3rd Earl of Carlisle, and others.

SIZE: 58 x 48 inches inc. frame.
PROVENANCE:With a Surrey family for at least a century and a half.

£10,950

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

Item Ref
8930

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.


£8,650

Portrait of a Lady c.1695; Circle of ...

Item Ref
9004

Oil on canvas in a period carved and gitwood frame.

Our portrait captures superbly the ostensibly modest yet seductive character of the sitter..
It is a good example of the way that Dahl and his Circle eloquently depicted aristocratic women. In terms of both draughtmanship and pose, Dahl's female portraits are noticeably softer and gentler than Kneller's, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl's works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter's costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter's turned head impact a subtle sense of movement. She wears the headcloth often seen in Dahl's portraits at this period; her gown is fashionably revealing, the supposedly modest drape of diaphanous material over her decolletage conceals little.

MICHAEL DAHL (1659-1743) was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, and his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

SIZE: 37.5 x 32.25 inches inc. frame.
PROVENANCE: Old private collection in south Herefordshire. Deceased estate.


£4,950

Portrait of a Lady of the Haworth ...

Item Ref
8998

Oil on canvas in a good quality period gilt frame.

A charming and insightful portrait of a lady of the Haworth family of Hull, Yorkshire. The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.

The sitter wears a gold mounted tiger's claw around her neck, an exotic and rare item; it seems probable that it was a gift from someone who had been to India, perhaps a military man. It is possible that this lady is Cordelia Wintour, daughter of Reverend Fitzgerald Wintour and Jane Elizabeth Dayrell, who married Benjamin Haworth in 1853. Haworth held the rank of Lieutenant-Colonel Commandant in the service of the 1st Brigade, Yorkshire Artillery Volunteers. On 6 July 1869 his name was legally changed to Benjamin Blaydes Haworth-Booth by Royal Licence. (The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths.) He held the office of Justice of the Peace and Deputy Lieutenant; he was also admitted to the Inner Temple and was entitled to practice as a barrister-at-law.

SIZE: 36 x 30 inches inc. frame.
PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.
£3,650

Portrait of Francis Gregor 1713, by William ...

Item Ref
9000

Oil on canvas in a gilltwood frame.

The Gregors were an important Cornish family who came to prominence during the 16th and 17th centuries as merchants and landowners.

FRANCIS GREGOR, (1686-1762), aged 27 in the portrait, was born in Trewarthenick in the parish of Cornelly, Cornwall.
He married, firstly, Maria Ratcliffe who died in 1720, and secondly in 1724, Dorothy Harn, died 1792.
Francis became Deputy Lieutenant of the Duchy of Cornwall: his son, Francis, served in the 53rd Regiment at Quebec under General Wolfe and became his secretary. In this portrait he holds a vellum scroll dated 1215, the date of the Magna Carta.

This painting, until the late 1960s, hung in the Great Hall of Trewarthenick House, Cornwall, at that time the property was sold out of the family.
In 1969 the portrait was relined by the then owner and the signature of the artist on the verso of the canvas was obscured, It was, however traced and this tracing comes with the portrait, as does much correspondence with Cornwall County Council concerning the portrait and family, a handwritten family tree, a copy of the Journal of the Royal Institution of Cornwall concerning the family and showing this portrait, and a framed engraving of Trewarthenick House, dated 1832. (See images).

WILLIAM GANDY (c1655-1729) Registered as the son of artist William Gandy, although in later life he claimed he was the illegitimate son his father's patron , the Duke of Ormonde.
His known work dates after 1700 and is of a high standard; his paintings were admired by Sir Godfrey Kneller, Painter to the King, and he is said to have influenced Reynolds, especially in the texture of the paint. Reynolds and Northcote are both reportred to have borrowed his paintings to make studies. His compositions can be original, and he often represents his sitter, as here, 'tightly' within the framework of the canvas. He is buried in St. Paul's Church, Exeter.

SIZE: 35.5 x 30.5 inches including frame.
PROVENANCE: by direct family descent until the late 1960s. Latterly in an Oxfordshire private collection, having been bought from the trade many years ago.
£4,850

Portrait of Marjorie McInnes 1921 by Cowan ...

Item Ref
8735

Oil on canvas board in a glazed modern gilt frame.
Signed and dated.
A charming portrait of Marjorie McInnies,a pretty young girl, painted in 1921, when she was four, by David Cowan Dobson.

MARJORIE MARY MCINNES OBE, (1917-2015) Marjorie was the daughter of Robert and Nettie McInnes. She had an older sister, Eileen, and a younger brother, Roy. They were born into a wealthy timber merchant family which fell upon hard times in the late 1920s. Her father died when she was ten. While she began her education at Craigholme School she completed it through a bursary at Hutcheson Girls Grammar School in 1934.

Initially she found work in a publishing house, and on leaving that got a job as a bank clerk. Her teenage years were beset by illnesses which she finally overcame.
Marjorie obtained the Diploma in Social Services from Glasgow University in 1939, there being no degree course at that time, and proceeded to train as an almoner (later called medical social worker) at the Institute of Almoners in London. She qualified in 1940. Her first posts were in 1941-42 working as an almoner at Hull Royal Infirmary, Stafford Royal Infirmary and as a caseworker at Greenock Social Services Council. These were all locum posts.
For a brief period in 1942-43 she worked in Southport, but on hearing that her brother, who was in the RAF, had been killed over France she returned to Scotland. From November 1943 to May 1948 Marjorie was almoner at Hairmyres Hospital, East Kilbride. She was exempt from war service as this hospital had a military wing but she was active as a volunteer in civil defence.

One of Marjorie’s great achievements was the work she undertook between the years 1949-52 as one of the social work representatives on the Cope Report, set up to establish a register for all medical auxiliaries. Marjorie and her colleague objected vehemently to almoners being included as auxiliaries and were finally successful in the establishment of social work as a separate profession.

During the years 1948-1953 Marjorie held the post of Head Almoner at the Victoria Infirmary in Glasgow and from 1954-57 was Head Almoner at Western Infirmary, Glasgow. During this period she also had a part-time teaching post in the University Department of Public Health and Social Medicine.
In 1969 Marjorie was appointed Deputy Chief Social Work Adviser within the Central Advisory Service of Social Work Services Group.
She held this post with great distinction and was held in the highest regard by all her ?colleagues throughout the Scottish Office.

Her retirement at the age of 61 in 1978 was the commencement of a new career serving within the Scottish voluntary sector. She contributed another two decades of guidance and oversight to many major Scottish charities. It was the recognition of her work as Convener of the Scottish Council on Disability which led to her being honoured by the Queen in the New Year’s Honours List for 1982.
Marjorie’s Christian faith enriched everything she did and achieved. She was a lifelong member of Adelaide Place Baptist Church – where she served as Deacon and subsequently Honorary Deacon – and also the wider denomination of the Baptist Union of Scotland through the Scottish Baptist College. In 1990 she was elected President of the Union – the only woman to have achieved this position.
(Our thanks to Patricia Leary for information on Marjorie)

DAVID COWAN DOBSON (1894–1980), referred to as 'Cowan' Dobson, Associate of the Society of Royal British Artists (1919),Member of the Society of Royal British Artists (1922), Member of the Royal Society of Portrait Sainters (1963); he was a leading Scottish portrait artist who painted with bravado and style, and in this intimate portrait there is a painterly delight in the handling of the medium - the brushwork to the dress very fast and impressionistic.

SIZE:25 x 21 inches inc. frame.
PROVENANCE: Scottish Private Collection.
£1,850

Portrait of a Boy in Red c.1720: ...

Item Ref
8782

Oil on canvas in a slim modern frame.

A pleasing early 18th century portrait of a good-looking youth, really little more than a boy, painted by an unknown artist who was influenced by the style of Verelst; probably one of the many intinerant painters who travelled the country painting the gentry and prosperous mercantile classes.
However, this portrait is well above average for its type, the face is sensitively painted and with a real feeling of the nature of the sitter and the detail of the sitter's expensive lace is depicted with great care. All in all a very attractive early Georgian portrait.

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, Harman, another Pieter, John, Maria, Simon and Willem.

SIZE: 48.5 x 36 inches inc. frame.
PROVENANCE: A Private Collection of a Leicestershire family for over 70 years,the painting cleaned and relined whilst in their possession.
£4,850

Portrait of Christian de Beauvoir de Lisle ...

Item Ref
8618

Oil on canvas in original giltwood frame.
This portrait is in exceptional original condition...it is unlined, never been cleaned (it has been under glass until now) and is bright and fresh.
Signed and dated lower right.
This beautiful portrait is painted with great sensitivity to the boy's face then considerable brio to the rest of the painting; in fact, with such dash and verve that some hairs were displaced from the artist's brushes and they remain as he left them.

The sitter, aged 5, wearing the 'Little Lord Fauntleroy' suit fashionable for aristocratic children at the time, looks confidentally out at the viewer.
The time is 1916.... the middle of the Great War, and the boy's father was General Sir Henry de Beauvoir de Lisle (1864-1955), married to Leila Annette Brynt de Lisle (1877-1938). The general was a much decorated officer who had fought gallantly in Egypt and the Sudan. At this time he was General Officer Commanding 29 Division on the Western Front,

Christian de Beauvoir de Lisle (1911-1994) was a member of an old and distinguished Channel Islands family and, like his father he joined the army and saw action in another war, World War II.
At Cambridge University Christian was a member of the Oficer's Training Corps.
On 2nd September 1933 he was gazetted as a 2nd lieutenant to the 11th Hussars from the Cambridge University Contingent, Senior Division; his seniority was to date from 28th January 1932.

The 11th Hussars were, and are, a very superior cavalry regiment with a long and distinguished battle record. Christian played for the regiment's polo team and in 1933 was given a siver cigarette box inscribed by all the other rmembers of the team.
In WW II the Hussars were an armoured unit.
Christian was promoted to captain on the 11th January 1940 and went on to become a lieutanant-colonel. He was awarded medals as follows: WW II GSM with Palestine bar, 1949/45 Star, the Africa star, the DM and WM.
He died in 1994 and is buried in St. Giles Churchyard, Stoke Poges, Buckinghamshire.

LEON SPRINCK was a fashionable artist of Russian stock, he painted many aristocrats and members of the gentry. In the late 19th and early 20th centuries he exhibited at the Royal Academy, London, the Royal Hibernian Academy and the Walker Art Gallery, Liverpool. He lived at Portland Place in London.

SIZE: 31 x 27.25 inches inc. frame.
PROVENANCE: by descent in the family.
Verso: the original frame maker's label for J.J. Patrickson of Chelsea, a specialist in making frames "in the Old Style".
£1,995

Portrait of Two Young Girls and Their ...

Item Ref
8885

Oil on canvas, bears signature C W Peale and dated mid left.

The two children pet their dog whilst in the background is a bust of the goddess Flora; Flora is the Roman Goddess of flowering plants, especially those that bear fruit. Spring, of course, is her season with its attendant attributes of future fertility and blossoming...all appropriate for two children in the springtime of their lives.


Charles Willson Peale (April 15, 1741 – February 22, 1827) was an American painter, soldier, scientist, inventor, politician and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, and for establishing one of the first museums in the United States. Peale studied for a time under John Hesselius and John Singleton Copley. John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland. There, he taught painting to his younger brother, James Peale, who in time also became a noted artist.

SIZE: canvas 24.75 x 30.10 inches.
framed:31 x 36.5 inches.
PROVENANCE: Stair Galleries (Auctioneers), New York
where bought by Mallett of London and New York in 2008.
£7,950

Portrait of a Gentleman c.1750: Attributed to ...

Item Ref
8873

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

ANDREA SOLDI (1703-1771) was an Italian portraitist active in Britain.
The only remaining source for this painter's early years is George Vertue, who in 1738 stated he was "about thirty-five or rather more", had been born in Florence and had come to England in about 1736 on the advice of British merchants belonging to the Levant Company, who had commissioned their portraits from him during his travels in the Middle East. From 1738 to 1744 he won much success in London's art market and among Italophile noblemen back from their Grand Tour, being preferred to both English portrait practice (fluctuating between Rococo and Kneller-like styles) and to other Italian portraitists in England at the time, such as the Cavaliere Rusca (worked in London 1738–39), and Andrea Casali (worked in London 1741–66). Beginning "above thirty portraits" from April to August 1738 alone (according to Vertue), Soldi's only serious rival was Jean-Baptiste van Loo (in London 1737–42). Particular patrons included the 2nd Duke of Manchester, 3rd Duke of Manchester, 3rd Duke of Beaufort and 4th Viscount Fauconberg. Soldi died in London.

SIZE:35 x 30 inches inc. frame.
PROVENANCE:With Jess Aplin Antiques, Cambridge.
From where acquired by Christopher Hogwood CBE.

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.
£4,795