Portrait sketch of Lady Francklin c.1675; Studio ...

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Oil on canvas in a modern frame; the portrait has been conserved, which included lining and new stretchers.

This portrait, a preparatory 'ad vivum' oil sketch for a finished version to be done in the studio, is of great interest. This portrait formed the basis for a more complete portrait now in a private collection in America. Oil sketches were often made ‘from life’ and then taken back to the studio to be worked up. This way copies could be made with ease and the sitters wouldn’t have to sit for too long.
The portrait is interesting on several levels; it is a window into how the fashionable artists of the period coped with the tremendous demand for their work. They established what was almost a production line using several talented assistants, supervised by the Great Man himself. Many of these assistants went on to secure fame and fortune in their own right using the invaluable experience gained in the Master's studio.
It also interesting to note how this rapidly painted portrait has a real vivacity and presence occasionally lacking in some 'over-finished' finished studio products ...this sitter is 'there', on the canvas, as seen with great immediacy, by the artist. it is as if we look directly through his eyes.

The FRANCKLIN family of Bedfordshire. This is an Anglo-Saxon occupational surname meaning “the franklin”, which means “the freeholder”, deriving from the Middle English word frankelein, and earlier the Old French fraunclein. The was a feudal title during the Middle Ages, which generally referred to a person who a freeman and holder of sizeable areas of lands, a gentlemen who ranked above the minor class, but was not as high as a knight or member of the nobility.
The first Bedfordshire Francklin was William Francklin of Thurleigh in the eary/mid 15th century, the youngest son of Robert Francklin of Skipton-in Craven, Yorkshire.
The Francklins of Bedfordshire were significant land owners, and there are memorials to them in the churches of Great Barford and Bolnhurst, among others. They were at Bolnhurst from 1483 to 1944.
Possibly this lady is the one who married Sir William Francklin, knighted in 1675. Further research is required.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, 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: canvas, 53 x 43 cm. Framed, 65 x 55 cm.
PROVENANCE: Private Collection, England.

Portrait of a Lady 1631, by Jan ...

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Oil on marouflaged panel in good quality 18th century carved and giltwood frame.
Signed with initials and dated 'Anno. 1631. JVR" upper right.

A superb portrait of a gently smiling young woman; she wears a pearl necklace, the essential accessory of the period, but modestly conceals it beneath her fine muslin. No such modesty however, for the magnificent jewellery she wears across her bosom.
Her black clothing, fashionably slashed, is of the finest quality, beautifully decorated and contrasting with the exquisite white lace spread across her shoulders. In the work of great portraitists black is never dull, its pictorial potential is fully utilised. 
Black is an ideal background against which gold can stand out to dramatic effect and to contrast with the crisp white linen and lace. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of the 17th century Dutch portrait.

The theory has been put forward that the sitter is Amalia van Solms, wife of the Dutch Stadtholder (and grandmother of England's William III), who was painted many times by many different artists.
However, we consider this unlikely, as does Fred Meijer, curator at RKD, Netherlands Institute for Art History, at The Hague. 'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. Otherwise this appears to be a fully characteristic work by the artist.'
Regardless of the identity of the sitter this is a superb and sensitive portrait by a famous artist from the Netherland's Golden Age of painting.

(c. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague. He was working there for the Stadholder's Court, for local patricians and for the upper classes of other cities in the Southern part of Holland and in Zeeland. 
His sitters are often depicted with rich costumes in the latest fashion, intentionally alluding to their wealth and status.
His earliest signed work is the well-known tondo portrait of the young Hugo Grotius, dated 1599 (Fondation Custodia, Paris). 
As early as 1604 Karel van Mander mentioned the artist as one of the most competent portraitists of his time. A large number of signed and dated works from the next decades - especially from the year 1611 - are known, including several group portraits of the Hague civic guard. 
The last dated portraits are from 1641, leading to the conclusion that the painter produced little, if anything, in the last fifteen years of his life. The general style of his work is closely related to that of the Delft portraitist Michiel Jansz. van Mierevelt (1567-1641), but is generally less dry and often more flattering than the latter’s.
SIZE: 28 x 24.25 inches panel size.
34.5 x 31.5 inches inc. frame.
*Collection of Alfred Morrisson M.P. of Fonthill House, Tisbury, Wiltshire. (see image 10). Alfred Morrisson (1821-1887) was an outstanding collector of fine and rare items.
*Latterly in the Private Collection of a Lady.
VERSO: two Victorian printed labels bearing much information of "M & B Bartington; Est. 1836. No. 58 Wardour Street, Soho" framer and restorer.
Victorian handwritten label "Alfred Morrisson Esq. No. 106. Three quarter picture of Dutch Lady by Jan van Ravesteyn. 20/12/87".

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 Sir James Richardson c.1680, Attributed ...

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Traditionally known as Sir James Richardson, the portrait is in oil on canvas in a fine period oval giltwood frame.
As can be seen to the right of the portrait there is a fragment of a well painted feigned carved stone oval. Clearly this portrait was once rectangular and was a feigned oval before being made into a real one, so this fragment is an interesting footnote to the painting's history.

This is a typically truthful and discerning portrait by Riley.The sitter regards us with the stern and penetrating gaze of a Scottish Laird; he wears extremely costly lace, and his breastplate seems to be inlaid with gold. The armour, depicted so well by the artist, does not necessarily imply a martial career for Sir James, it is there to suggest an ancient aristocratic lineage.
It is likely that this portrait was painted to commemorate his succession to the title in 1680.

SIR JAMES RICHARDSON, 4th Baronet Pencaitland of Pitfour Castle, Co. Perth. He was the son of Sir James, 3rd Baronet and Anne McGill. Married Lady Margaret Kerr, daughter of William Kerr, 1st Earl of Lothian, and Lady Anne Kerr, in 1666. Sir James sold the estate in 1708 and died in 1717.

JOHN RILEY, or Ryley, (1646 – 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy. Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Charles II gave Riley some commissions, and eventually himself sat for him, apparently saying of the result: "Is this like me? Oddsfish, then I'm an ugly fellow!" Riley also painted James II and Mary of Modena, and, on the accession of William III and Mary II, he was appointed Principal Painter in Ordinary, jointly with Sir Godfrey Kneller, though he only survived for three years after this.
Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller.
He was assisted in painting (at least) his draperies and accessories by John Closterman, who finished several of Riley's pictures after his death.

SIZE: canvas 30 x 25 inches. Overall 37x 33 x 2.5 inches.
PROVENANCE: English Private Collection.
Verso; label for Jolly's department store in Bath. Pencil annotation 'over fire drawing room'

Portrait of Philippe II, Duke of Orleans ...

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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)

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.

Portrait of Louis XV as a Boy, ...

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Oil on canvas in an elaborate gilded frame.
18th century in the manner of Pierre Gobert (1662-1744). Beautifully painted, with almost a miniaturist's skill, this portrait is of an intimate size, being only 24 inches tall including the frame.

This high quality and animated portrait of Louis XV beautifully captures both the regality of this young king and his childhood innocence.
Louis XV was widely known as Louis Le Bien Aimé or Louis the Beloved and was born at the Palace of Versailles during the reign of his great-grandfather Louis XIV. Louis XV was not expected to become king, he was the third son of the Duke of Burgundy (who became the Grand Dauphin after his father’s death in April 1711) and was given the title of Duke of Anjou. In 1712 the Grand Dauphin’s wife, Marie Adélaïde, died of smallpox and only a week later the Grand Dauphin, heartbroken and ill, also died. It soon became apparent that their two sons, Louis, Duke of Brittany and the Duke of Anjou (Louis XV) had also become infected with smallpox and after several attempts to save the Duke of Brittany’s life, through extensive bloodletting, he died. The Duke of Anjou’s governess, Madame de Ventadour, prevented bloodletting to treat the young prince and ultimately saved his life. Louis survived smallpox and was the heir to the French throne at the age of two.

Whilst the king was an infant the country was governed by a Regency Council of fourteen members including Philippe, Duke of Orléans, nephew of Louis XIV, who was named president. It was Philippe of Orléans who encouraged French decorative arts and helped establish Louis XV’s extravagant style. Louis was curious and open-minded, an intelligent boy who quickly developed eclectic tastes.

In 1721 at the age of eleven, Louis was betrothed to his first cousin Maria Anna Victoria of Spain who was three years old, and the following year he was crowned king in Reims Cathedral. In the two years that followed, the Duke of Bourbon became increasingly concerned with Louis’s health and sought to find an older European princess who could bear children and would become the future queen of France. The king married twenty-one year old Marie Leszczynska, daughter of Stanislaw I, deposed king of Poland, in 1725 when Louis was just fifteen. Four years later after her third pregnancy, the queen gave birth to an heir, another Louis.

Louis XV’s reign was defined by lavish spending, which brought France to the edge of bankruptcy, and wars with England, Austria, the Ottoman Empire and Prussia. Called the ‘First Gentleman of Europe’ he was charming, handsome and intelligent; three attributes present in the face of the young king in this portrait.

PIERRE GOBERT (1662 – 13 February 1744) was a French painter.
He was born in Fontainebleau, the son of the sculptor Jean Gobert. Pierre entered the Royal Academy of Painting and Sculpture on 31 December 1701 as a portraitist. During the reign of Louis XV he became the preferred painter of the great ladies of the court as evidenced by the large collection of portraits that he executed during that time.

SIZE: 23.75 x 22 x 3 inches framed.
PROVENANCE: *Reputably from the Collection of Lady Fraser, Scotland.
* Collection of a Somerset family, originally from Scotland.

Portrait of a Young Gentleman c.1620, Circle ...

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Oil on canvas in a reproduction frame of appropriate type.
This is a very fine quality painting, probably painted by one of the many talented artists who worked in van Miervelt's studio. The depiction of the lace collar is superb, and the features of the sitter are beautifully observed and painted, giving us a real insight into the character of the young man. He looks candidly at us, with a touch of humour to the eyes and mouth. His lace and the gold buttons on his doublet proclaim him as a person of considerable means.

MICHIEL JANSZOON VAN MIEREVELT, often abbreviated as Michiel Jansz. and the surname also spelled Miereveld or Miereveldt, (1566 – 1641) was a Dutch Golden Age painter.
He registered as a member of the Guild of St. Luke in The Hague in 1625. Devoting himself first to still lives, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him. The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious colour, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronised by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.

Many of his pupils and assistants rose to fame. The most gifted of them were Paulus Moreelse, Jan Antonisz. van Ravesteyn, Daniel Mijtens, Anthonie Palamedesz, Johan van Nes, and Hendrick Cornelisz. van Vliet. His sons Pieter (1596–1623) and Jan (died 1633), and his son-in-law Jacob Delff, probably painted many of the pictures which go under his name. His portrait was painted by Anthony van Dyck and engraved by Jacob Delff.

SIZE: 27 x 23.5 x 1.25 inches including the frame.
PROVENANCE:* Formerly the property of the Raymond-Barker family late of Fairford Park, Gloucestershire.
*Gloucestershire Private Collection.
Verso: Framer's label.

Portrait of Mrs. Grenaway 1730, by John ...

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Oil on canvas in a frame made by the famous Norwich carvers, gilders, looking glass manufacturers, and framemakers W. Boswell and Son. (Trade label verso).
Signed and dated 1730, lower left, partially obscured by the later inscription 'Mr. Grenaway'.

This is a particularly fine, sensitive and insightful portrait and ranks among Heins very best work.
The sitter has long been thought to be the wife of William Grenaway, attorney in Norwich; but we feel it is more likely to be his mother.
William's portrait, also on this website, is the same size and framed to match, but this lady looks considerably older than him, she wears widow's weeds [1], and is depicted looking in the same direction as him. When hanging together, one of these portraits would have its back to the other. As a general rule, husband and wife portraits depict them inclining towards each other, not away.

[1]The “weeds” in the term comes from the Old English waed, which means “garment.” Widow's weeds have several defining characteristics, including dark or muted colours and simple designs.
The wearing of widow's weeds would have instantly distinguished a widow from those around her, making her state very obvious. It was also a class symbol, as only the very wealthy could afford the mourning ritual of full mourning to half mourning etc, which involved an entirely new wardrobe and a general withdrawal from society.

JOHN THEODORE HEINS (1697-1756), also known as Dietrich or Dirk, was born in Germany. He settled in Norwich (at that time a city second in importance only to London) in 1720.
He made a good living painting the local prosperous merchants and gentry and was accepted into their social circle. His style was influenced by that of Thomas Hudson.
Many of his finer works were commissioned by the Astley family of Melton Constable.
Heins died in Norwich and his will was proved 30 August 1756 by his widow, Abigail.
His son, also called John Theodore Heins was also a portraitist but lacked his father's talent.
Heins senior's work is in Norwich Castle Museum, Felbrigg Hall (National Trust), the National Portrait Gallery, Cambridge University and others.
SIZE: 34.5 x 29.5 inches including the frame.
PROVENANCE: Old collection, a Norfolk country house.

Portrait of Miss Kathleen Bell 1936, by ...

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Oil on canvas is an elaborate gilt period frame. (several small damages)
Signed and dated bottom left.
The sitter is Kathleen Bell, known as 'Billy'. The Bells are an old family and mainly originate in the North of England though they have spread far and wide over the centuries.
This charming portrait is absolutely typical of its period, especially in the colour of the dress, which was extremely fashionable. Until now the painting has spent its life under glass, so has needed no cleaning or restoration.

Below is a letter I received from a member of the family:
"Billy (Kathleen) was born to parents who emigrated to South Africa from northern
England. She was the brightest and best looking of three girls. Her
father George Bell was not very dynamic and held down a dull job as a
bank manager before returning to England with the adult girls. Two went
to Art School and eventually married into financial security. My husband
being the only descendant. Billy seems to have lost her man in the war
and started her career as a secretary/p.a in the Ministry of Defence
(Naval Intelligence). She was the only sister who worked for her living
all her life and had little to show.

Bertram Priestman knew the three girls through art contacts (Eldest
sister Peggy was a proficient portrait painter) Angus's mother Gwyneth,
the youngest sister, was engaged to Priestman's son Brian. Sadly he
died. Bertram had a big fondness for Billy, as shown in the portrait.
Billy was a private person so we don't know much about her life. She
didn't talk a lot to her more privileged sisters. She developed cancer
on her retirement. She had lived latterly with Peggy and her husband in
South Kensington where she died."

He was born in Bradford, Yorkshire in 1868, lived in Bradford and Skipton in Yorkshire, then London. He died in Crowborough, Sussex, England on March 19, 1951. Priestman studied under Edwin Moore, Arnesby Brown and at the Slade School of Art. He was studio assistant to Sir William Llewellyn, PRA., and he had a house and garden studio in Walberswick, Sussex 1914 - 1927, where he tutored pupils including Edward Seago.

He travelled extensively in Europe and the United States and exhibited regularly at The Royal Academy, Goupil Gallery, ROI, Walker Art Gallery and widely elsewhere. He was elected to the American Royal Academy as a painter on April 20th, 1916, elected to the Royal Academy on June 26, 1923, and elected a Senior Royal Academician on Jan 1, 1944.

SIZE: 43 x 40 inches inc. frame.
PROVENANCE: By direct descent through the family in Sussex.
EXHIBITED: City of Bradford Art Gallery, Cartwright Hall. Loan number 514. (label verso)

Pair of Portraits c.1850; French School.

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A charming pair of portraits of a good-looking French couple, almost certainly painted on the occasion of their marriage.
They are both very much in the fashion of the day; the lady has her hair in ringlets and the gentleman has his hair swept up in an elaborate quiff, doubtless held in place by macassar oil. This oil was used through the 1800s and early 1900s to style the hair, give it body and make it shine. His huge 'mutton-chop' side whiskers were also very 'a la mode'.
The identities of sitters and artist have been lost, but that in no way affects the attractiveness of these paintings, offered in excellent condition and ready to hang. The original frames are also in excellent condition.
SIZE: 27 x 23 inches including the frame.
PROVENANCE: From a West Country collector.

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 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".