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 Marjorie McInnes 1921 by Cowan ...

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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.

Portrait thought to be of Anne Lady ...

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Oil on oak panel in an appropriate reproduction frame.

Known as Anne L. Somers. this sitter has been misidentified for years. The abbreviations were a commonplace at one time, as Richard Grigson, art collector and connoisseur, said in an email to me:
"There is no Anne Somers! The full stop is a dead giveaway. Anne L.(ady) Somers.(et). In other words, Anne Carr, only child and heir of Robert Carr, Ist Earl of Somerset. Her dates 1615 to 1684. She married, in 1637, William Russell, fifth Earl of Bedford and was one of the celebrated beauties of the day, painted by Van Dyck..."

ANNE CARR, COUNTESS OF BEDFORD (9 December 1615[1] – 10 May 1684) was a wealthy English noblewoman, and the wife of William Russell, 5th Earl of Bedford, a peer and soldier during the English Civil War, who after her death was created Duke of Bedford. Her mother was the notorious Frances Howard who was an accomplice to murder. In about 1638, Anne was the subject of at least two portraits by Flemish painter Anthony van Dyck.

Lady Anne was born in the Tower of London on 9 December 1615, the only child and heir of Robert Carr, 1st Earl of Somerset and Frances Howard, a member of the noble Howard family. Anne was baptised on 16 December 1615 at St Martin's Church, Ludgate. At the time of her birth, her parents were imprisoned on charges of having participated in the fatal poisoning of Sir Thomas Overbury in 1613. They were both sentenced to death, but later spared execution. Her mother admitted to her complicity in the crime but her father maintained his innocence. The family remained in the Tower until January 1622 when King James I pardoned them.

Anne was described as having been virtuous and one of the beauties of the royal court. Her beauty caught the eye of William Russell, the son and heir of Francis Russell, 4th Earl of Bedford and Catherine Brydges. Remembering the notorious scandal caused by Anne's parents; William's father staunchly opposed the match, warning his son to be "upon his guard against the dangerous beauty of Anne Carr". A passionate attachment sprang up between William and Anne and the former refused to yield to his father's wishes in the matter. King Charles I, who favoured the marriage, eventually persuaded the earl to give his consent to the match; thus on 11 July 1637 at St. Benet's Church, Paul's Wharf, London, William Russell and Anne Carr were married.

When William succeeded as the 5th Earl of Bedford on 9 May 1641 upon the death of his father, Anne was thereafter styled as Countess of Bedford. She was never the Duchess of Bedford as William was not created a duke until ten years following her death.
The couple resided at Woburn Abbey in Bedfordshire, and their marriage was said to have been happy

This is a very attractive example of the small-scale portraits, often of the Society beauties of the time, that became very fashionable in the mid 17th century. They are usually very Van Dyck influenced in mood and presentation; sets of these can be found in many great houses such as Knole, Knebworth and Woburn as well as in the Royal Collection.

THEODORE RUSSELL (1614-1688/9) is considered to be the painter of these portraits, although there is no certain evidence to support this. Russell's father had left Bruges in 1573 and settled in London, working as a goldsmith. Theodore studied under Cornelius Johnson and Sir Anthony Van Dyck, becoming employed by such patrons as the 3rd Earl of Essex and the 1st Earl of Holland. He was said to be 'a lover of ease and his bottle'.

Our sincere thanks to Richard Grigson.

SIZE: 18.75 x 15.50 inches inc. frame.
PROVENANCE: London Private Collection.
Verso: trade label of Hamish Dewar Ltd, Restorer, of St. James's, London.
Old torn handwritten label, and faded old Christies stencil. Old red wax collection seal.

Portrait of Margery Angelo Swynnerton, 1917, by ...

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A fine quality portrait of an attractive young woman, the artist's daughter, painted in 1917 when she was 23; in its original frame. Signed and dated lower right.

FREDERICK SWYNNERTON (1858-1918) was a painter of some distinction. Born in Douglas on the Isle of Man, he was a Fellow of the Society of Antiquaries of London and lectured on Manx prehistoric remains.
He was taught painting first in Rome, where he lived in the ménage kept by his older brother, the sculptor Joseph William Swynnerton and his wife, Annie, the painter and suffragette, who was elected to the Royal Academy. He bought the wall-paintings of the Domus Aurea whilst in Rome; they are now in the British Museum.
He went on to the Académie Julian in Paris and then set out for India, to make a career for himself as a portrait painter. He married the daughter of an Anglo-Italian fencing and soldiering family, Louise Oldfield Angelo, and lived with them in Simla. Louise died in 1941.

Swynnerton painted portraits of many of the important Europeans in India. He died suddenly in Bombay in 1918, the year after he painted this portrait, and is buried at the Sewri Christian Cemetery.

MARGERY AUGUSTUS ANGELO SWYNNERTON, was born in Delhi, Bengal on the 15th August 1894. She died in the UK in 2000. She was also an artist.
When this portrait was painted in 1917, her father had visited her in Bombay where she was recovering from pneumonia, caught in Mesopotamia, present day Iraq, whilst nursing wounded troops along with a small group of similarly strong-minded British nurses. They became the first British women to care for Indian soldiers, not on the Western Front but in the searing desert heat of Mesopotamia. Conditions were hellish, temperatures up to 115 degrees Fahrenheit, and conditions primitive in the extreme; more than half the nurses became ill, often with dysentery.
Seeing the far-away look in Margery's eyes, as she sat in safety, her father painting her, as she convalesced, one cannot help but wonder what she was thinking. The horrors she had seen were not long ago, and the war continued......
SIZE:38 x 31.5 x 2.25 inches including the frame.
PROVENANCE: by direct descent in the family.
Verso: Old storage label for Allen's Depository, Colwyn Bay, and the handwritten name 'Angelo'.


Portrait of a Gentleman c.1720; Attributed to ...

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Oil on canvas in the original carved and giltwood frame.

An insightful portrait of a fashionable young man; it is typical of Aikman that we have a real sense of the individual, even though the sitter's name is lost.
Verso, an old, probably Victorian, copperplate inscription incorrectly identifies the sitter as James Stuart, The Old Pretender.

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: 37.5 x 32.5 inches framed.
PROVENANCE: An old Private Collection, Edinburgh, Scotland.

Pair of Portraits of Sir Neville and ...

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A pair of oils on canvas in good carved and giltwood frames. These were probably the marriage portraits of Sir Neville and his first wife Dorothea.
Sir Nevill(e) Catlin, sometimes written Catlyn or Catelyn or Catline, was an English landowner and politician from a Norfolk family long active in local and national affairs. Baptised on 3 March 1634, he was the eldest surviving son of landowner and politician Richard Catlin (1583 – 1662) of Kirby Cane and his second wife Dorothy (1605 – 1672), daughter of landowner and politician Sir Henry Nevill of Billingbear and his wife Anne, daughter of Henry Killigrew. His father, who supported the King in the English Civil War, had been disabled from sitting in Parliament in 1644 and suffered sequestration of his estate, but was discharged without fine in 1647. His older half-brother Thomas Catlin died fighting for the Royalist side in the Second Battle of Newbury in 1644 . In 1650, he entered King's College, Cambridge.

In 1658 in London he married his first wife Dorothea, daughter of the judge and politician Sir Thomas Bedingfield and his wife Elizabeth. After her early death he married Elizabeth, daughter of Robert Houghton of Ranworth and his wife Elizabeth, daughter of Sir John Corbet, 1st Baronet, of Sprowston, but she died in 1681. His third marriage was to Mary, sister of Sir Charles Blois, 1st Baronet and daughter of Sir William Blois of Grundisburgh and his first wife Martha. In the first two marriages there were three sons and a daughter, but none lived long.

At the Restoration in 1660 he joined the Norfolk militia, initially as a captain of cavalry and rising later to major. In 1661 he was appointed a commissioner for tax assessment for both Norfolk and Suffolk and in 1662 when he inherited the estates of Kirby Cane and Wingfield Castle on the death of his father, he was knighted. In 1668 he was appointed Justice of the Peace for Norfolk and in 1680 for Suffolk as well, adding the rank of Deputy Lieutenant for Norfolk in 1676 and Suffolk in 1680.

In the 1685 general election he was unopposed as one of the two members for the city of Norwich and was listed among the opposition to the supporters of the Catholic King, James II. Unsympathetic to the political ambitions of the Catholic party, he opposed the repeal of the penal laws against Catholics and dissenters but was not against some relaxation. As an opponent of the King's absolute rule, he was stripped of his local offices, and when these were restored in October 1688 he refused to sit next to Catholic office holders. In the Convention Parliament of 1689 he was fairly active, being appointed to 15 committees.

He did not stand in the 1690 general election, retiring from national politics. Dying in July 1702, at Wingfield Castle, he was buried at Kirby Cane and succeeded by his younger brother Richard Catlin V.

JOHN HAYLS (1600-1679) also Hailes, was an English Baroque-era portrait painter, principally known for his portrait of Samuel Pepys. Hayls was a contemporary and rival of Sir Peter Lely and Samuel Cooper.
Pepys was so pleased with his wife's portrait, that he commissioned a portrait of himself and also persuaded his father Thomas Pepys to sit for the artist. Pepys also mentioned that Hayls painted the actor Joseph Harris as Henry V.
Hayls also painted portraits of Colonel John Russell (third son of Francis Russell, 4th Earl of Bedford), Lady Diana Russell, and the poet Thomas Flatman. He was known as a good copyist of the works of Van Dyck. He lived in Southampton Street, Bloomsbury, London, for some years, but then moved to a house in Long Acre, where he died suddenly in 1679.

SIZE: 35.5 x 30.5 inches inc. frame.
PROVENANCE: Wingfield Castle, Sussex, then by descent to the Lords Berners of Ashwellthorpe Hall, thence to Faringdon House. (see last image).

Portrait of a Young Child 1797: Attributed ...

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Oil on canvas in an imposing period giltwood frame.

An enchanting portrait of a child holding an apple by a draped table with apples and bread in a basket, a park landscape beyond.

The nudity of the sitter is intended to convey a sense of the innocence and lack of affectation in childhood.
The gender of the sitter is uncertain...the hair style being rather more that for a boy than a girl but, perhaps significantly, the child plays with apples and a basket of them is on the table. Apples are the attributes of the beautiful Three Graces, handmaidens of Venus.
The portrait is signed and dated "A mon cher/ ..eyen..n.. Elisabeth/ 1797". Whether the use of the masculine 'mon cher' refers to the painting being dedicated to the (male) sitter or to a male recipient is not known, but clearly it was someone towards whom Elisabeth Chaudet felt affection.
The Chaudets were married in 1793 so there is a possibility that this was their child, aged four in 1797.

The portrait has a natural informal feel...a snapshot of a fleeting moment, but the artist carefully, and exquisitely, depicts the opulent velvet on the table and the cultured parkland of a great estate; the point is made...this is a child of a wealthy and powerful family.

The frame bears an old label incorrectly naming the artist as Elisabeth Vigee-LeBrun.

JEANNE-ELISABETH CHAUDET née Gabiou (b Paris, 23 Jan 1767; d Paris, 18 April 1832) was an important Empire painter who began her career as a pupil of the renowned 18th Century portrait painter Elisabeth Vigée-Le Brun. She was the wife of Antoine-Denis Chaudet, the celebrated sculptor. She exhibited in the Salon between 1798 and 1817. From the beginning she enjoyed the approval of the public and the critics. The Little Girl Trying to Teach her Dog to Read (exh. Salon, 1799; Rochefort, Mus. Mun.) made her famous.
The Empress Josephine bought Young Girl Feeding Chicks (exh. Salon, 1802; Arenenberg, Napoleonmus.) for the gallery at Malmaison. Chaudet increasingly produced genre scenes incorporating young girls, children and pets, such as Child Sleeping in a Cradle Watched by a Good Dog (exh. Salon, 1801; Rochefort, Mus. Mun.) and Young Girl Crying over her Dead Pigeon (exh. Salon, 1808; Arras, Mus. B.-A.).
She is best known as a genre painter but also produced a large number of portraits, such as the full-length portrait of a Young Child in a Lancer's Costume (c. 1808; Arras, Mus. B.-A.).
Chaudet obtained a Prix d'Encouragement at the Salon of 1812 for the Little Girl Eating Cherries (Paris, Mus. Marmottan), but after 1812 her popularity declined. Her second husband, Pierre-Arsene-Denis Husson, whom she married in 1812, left an important collection of her work to the Musee des Beaux-Arts in the Abbaye St-Vaast, Arras.

SIZE: 53 x 39.75 inches inc. frame to top of crest.
(134.5 cm x 100cm)
Canvas size: 40 x 33 inches (101.2cm x 83 cm).
PROVENANCE: With LeBrun, Paris (old label verso),
Anonymous sale; Tajan, Paris 2004 (as a boy).
Sotheby's, London 2006 (as a girl).


Portrait of Catharina Margaretha Beck c.1695; Attributed ...

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Small oil on canvas in period carved and giltwood frame.
The young sitter, Catharina Margaretha Beck, by the standards of the time of marriageable age, is depicted in the mythical realm of Arcady, a fashionable conceit of the time. Arcady, or Arcadia, was a mythological land, home of the god Pan, where love, innocence, and peace reigned.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain. The fountain makes an allusion to her potential as a wife and mother, recalling Proverbs, chapter 5, verse 18 "Let thy fountain be blessed, and rejoice in the wife of thy youth".
This is a very high quality portrait with symbolism typical of the Baroque period.

CATHERINA MARGARETHA BECK (1680 -1737) was born in Middelburg, Walcheren, where her father was Burgomaster. She became the second wife of Baron Guisbert van Hogendorp van Hofwegen in 1696. Thus she married into an old and influential family of the Dutch nobility. The marriage produced nine children of whom three died in the year of their birth. Catherina died in South Gravenage in 1737, aged 57.

JOHANNES (Jan) VAN HAENSBERGEN (1642–1705) was a Dutch Golden Age painter. He was registered in the Utrecht Guild of St. Luke in 1668 and in 1669 he was registered in the Confrerie Pictura in The Hague, where he married Johanna van Heusden and worked on portraits for the elite there. According to Houbraken he was born in Utrecht. He was a student of Cornelius van Poelenburgh, and though he was quite successful in imitating his master's style of landscape painting, he switched to portraits since he could make a comfortable living making "flattering ladies portraits that made their skin look whiter". (Pale skin was the sign of quality at the time, only peasants who worked outside for a living had tanned skin). His portrait style shows the influence of Caspar Netscher.

SIZE:28 x 24.25 x 2.5 inches including the frame.
PROVENANCE: *Bonhams, London, Old Master Paintings, April 2015.
*The collection of a lady, Southern England.
Verso: an old Christie's stencil, and a handwritten label, dated 1930, with inventory numbers.

Pair of Portraits of a Lady and ...

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Oils on canvas in fine period carved and giltwood frames.
The identities of this handsome couple have been lost during the 40 or more years they spent languishing in a Yorkshire attic; clearly people of considerable wealth, they could afford a top quality artist to depict them.
At first I thought of Mary Beale as the probable artist, but after consultation with art historian Adam Busiakievicz, I am in agreement with his view:-

" Very beautiful indeed.
I do tend to lean towards Wissing…and very fine examples of his, if he made them."

"I agree, the pose and compositional elements are shared in the works of Beale and Lely. But I feel that the handling and face patterns are different. Yours have a more silvery tone and 'nervous' handling, which is very attractive in my opinion. Beale's handling looks broader to me, especially in the drapery folds for example. The Beale examples you have shown also have that typical face pattern, which makes them instantly recognisable as her works.
The wig of the gentleman too reminds me more of the style of William III than Charles II.
I wish I could be a bit more specific on attribution, but it's very difficult without having access to the Heinz Library to draw comparisons. My tendency is still to lean towards Wissing, but I cannot be certain without further research."

WILLIAM WISSING also known as Willem Wissing, (1656 - 1687), was a Dutch portrait artist.
He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630–97) and Arnoldus van Ravestyn (1615–90). In 1676, he moved to England, where he studied with and assisted Sir Peter Lely.
After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
In 1685, James II of England sent Wissing to the Netherlands to paint portraits of his Dutch son-in-law and daughter, the future William III of England and the future Mary II of England. Wissing died in 1687 at the peak of his fame as a portrait painter, at Burghley House, the home of Algernon Capell, 2nd Earl of Essex outside of London.
He was buried in St Martin's Church, Stamford, Lincolnshire.

SIZE: 38 x 33 x 2.25 inches.
PROVENANCE: A Yorkshire country house for over 40 years.
Verso: two old labels on each painting, both for Frost and Reed of Bristol ... noted art dealers and painting restorers. One is marked for the attention of Mr. Dawes, the other bears the name Mrs J. Fell of Harrowgate (sic)


Portrait of Queen Mary II, After William ...

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Oil on canvas in a carved and giltwood frame.
This is a charming portrait, an early 19th century copy, in miniature, of the very large original by William Wissing in the Royal Collection.
Mary is depicted, prior to her coronation, as the Princess of Orange; the portrait is within a very fine quality carved frame … a work of art in its own right.

MARY II (30 April 1662 – 28 December 1694) was Queen of England, Scotland, and Ireland, co-reigning with her husband, King William III & II, from 1689 until her death. Popular histories usually refer to their joint reign as that of William and Mary. Mary, born at St James's Palace in London on 30 April 1662, was the eldest daughter of the Duke of York (the future King James II & VII), and his first wife, Anne Hyde. Mary's uncle was King Charles II, who ruled the three kingdoms of England, Scotland and Ireland; her maternal grandfather, Edward Hyde, 1st Earl of Clarendon, served for a lengthy period as Charles's chief advisor. She was baptised into the Anglican faith in the Chapel Royal at St James's, and was named after her ancestor, Mary, Queen of Scots. Her godparents included her father's cousin, Prince Rupert of the Rhine. Although her mother bore eight children, all except Mary and her younger sister Anne died very young, and King Charles II had no legitimate children. Consequently, for most of her childhood, Mary was second in line to the throne after her father.

She married her Protestant first cousin, William of Orange, in 1677. Charles died in 1685 and James took the throne, making Mary heir presumptive. James's attempts at rule by decree and the birth of his son, James Francis Edward Stuart, led to his deposition in the Glorious Revolution and the adoption of the English Bill of Rights.

William and Mary became king and queen regnant. Though William relied heavily on Mary, she wielded less power than William and, when he was in England, ceded most of her authority to him. She did, however, act alone when William was engaged in military campaigns abroad, proving herself to be a powerful, firm, and effective ruler. Mary's death left William as sole ruler until his own death in 1702, when he was succeeded by Mary's sister, Anne.

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, Queen Mary II and the Duke of Monmouth.

SIZE: 27.25 x 23.75 x 2.75 inches including the frame.
PROVENANCE: Collection of Patrick Donald (1930-2019)


Portrait of James, Duke of Monmouth as ...

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Oil on canvas in a modern reproduction frame.

JAMES SCOTT, 1st and last Duke of Monmouth, was born on 9 March 1649 at Rotterdam, The Netherlands. The eldest of Charles II's fourteen illegitimate children, Monmouth was the son of Lucy Walter. He fought in the Second and Third Anglo-Dutch wars gaining a considerable reputation as one of Britain's finest soldiers. He married Anne Scott, Countess of Buccleuch, daughter of Francis Scott, 2nd Earl of Buccleuch and Lady Margaret Leslie, on 20 April 1663 at Earl of Wemyss' house, London, England.
Charming and ambitious, he was put forward as a Protestant candidate for the throne at the time of the 'Popish Plot' in 1678. On his father's death in 1685 he led the 'Monmouth Rebellion', an attempt to take the throne from his uncle, James II. He landed in England with a small Protestant army and issued a declaration in which he accused James of poisoning the late king, usurping the throne and ruling against the law. He was defeated at Sedgemoor and was captured in the New Forest a few days later, and executed in the Tower of London on July 15 1685.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles II, although he had painted portraits throughout the Commonwealth. 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, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 36 x 28.75 inches including the frame.
PROVENANCE: London Private Collection.
Note: verso, a pencilled inscription incorrectly names the sitter as John Wilmot, 2nd Earl of Rochester.


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' 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.