Portrait of Benjamin Haworth c. 1750; Circle ...

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Oil on canvas in a modern reproduction frame.

The sitter, Benjamin Haworth, is shown in a pose very fashionable at that time...that of a sporting country gentleman, with his dog and fowling piece.

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 Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths. Like the aristocracy these wealthy merchants married within their peers, always with an eye on increasing their wealth and power.
BENJAMIN HAWORTH was born in 1728, son of Thomas Haworth (also on this website) and Mary Blaydes, daughter of Benjamin Blaydes.
Benjamin Haworth married Anne, daughter of John Booth, in 1756. Their son Benjamin Blaydes Haworth (also on this website) was born in 1763 and became Sheriff of Hull in 1813.
Benjamin died in 1798.

ALLAN RAMSAY 1713–1784.
Ramsay was born in Edinburgh. His father, also Allan Ramsay, was an important Scottish poet from whom the younger Ramsay inherited a tradition of strong nationalistic pride. Ramsay junior was instrumental in formulating a native Scottish style of painting, as his father had done for poetry.
Ramsay studied in London at St Martin's Lane Academy and at Hans Hysing's studio, before going to Italy. He worked from 1736 to 1738 at the French Academy in Rome under Francesco Imperiali and under Francesco Solimena in Naples. On his return he settled in London, although he continued to be active in Edinburgh. Between 1754 and 1757 he was in Italy, mostly in Rome. He was elected a Fellow of the Society of Antiquaries in 1743. During his prime period he had a virtual monopoly on court painting. He became the official painter to George III in 1760, and Principal Painter-in-Ordinary in 1767. His assistants included David Martin, Alexander Nasmyth and Philip Reinagle.

SIZE: 49.75 x 41 inches inc. frame.
PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.
Verso: old handwritten label identifying the sitter.

Portrait of Christian de Beauvoir de Lisle ...

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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".

Portrait of John Robinson of Denston Hall, ...

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Oil on canvas in 18th century frame.
John Robinson married Frances Bromsal, and this is one of the portraits of the Robinson family bought back by Algernon Dunn Gardner from Augutus Benyon, whose mother has rented Denston Hall and bought furniture and pictures from Henrietta (Harriet) Pigott, the then owner of the estate, whose mother had been a Robinson.
Denston Hall in Suffolk was the estate which for centuries belonged to the Robinson family.
Having descended through various branches of the family the different estates became invested in Algernon Dunn Gardner in the early 20th century. Connected to the Robinson family by marriage, Dunn Gardner kept this portrait on the walls of Denston until it was removed by his daughter when the property was sold 30 years ago. It was then kept in storage until now.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture and a large number of artists, many very talented in their own right, emulated his fashionable style.

SIZE: 36.75inch framed height 32.00inch framed width
PROVENANCE:By descent at Denston Hall and then to Dunn Gardner in 1908 thence by descent.
VERSO:much handwritten information.

Portrait of a Gentleman c.1695; by John ...

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Superb quality portrait, oil on canvas, later mounted on board, in the original fine carved and giltwood 17th century frame. This excellent portrait is typical of the height of the Baroque period; the handsome sitter relaxes in an expensive and fashionable silk 'tea gown', his costly wig flows over his shoulders.

JOHN CLOSTERMAN (1660-1711) was born in Osnabruck, the son of an artist. His early training was from his father, but in 1679 he moved to Paris where for two years he studied under the portraitist Francois de Troy.
In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.

By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery

His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.
He lived in great splendour in his house in Covent Garden, London, with his wife Hannah.
In 1699, after a visit to Rome, he fell under the spell of the Antique and painted his famous full length portraits of the Earl of Shaftesbury in Classical pose.
Closterman's last documented portrait is 1704, and he devoted his last years to dealing in Old Master paintings.

An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of 'Master of the Baroque Portrait'.

SIZE: 37 x 32.5 inches inc. frame.
Provenance: Hampshire Private Collection.

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

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

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

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


Portrait of 'Micky', 1920, by John Young-Hunter ...

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Oil on unlined canvas in a good quality gilded frame.
Inscribed 'Micky' and signed and dated 1920 lower left.
A charming portrait of the young girl 'Micky' painted in 1920, utterly evocative of its period and capturing the relaxed innocence of the child. The artist has used his paint in a very bravura fashion, the broad strokes of the clothing and background providing a contrast to the sensitively rendered face.
Young-Hunter expresses a painterly delight in the use of the medium.
JOHN YOUNG-HUNTER (1874-1955) is known for his society portraits of wealthy British and Americans, and for his Native American portraits and genre scenes of the Southwest. Young-Hunter’s work has a bravura quality and his colours are tastefully planned.
John Young-Hunter was born in Glasgow, Scotland to marine painter, Colin Hunter, and pianist, Isabella Young.
He attended Clifton College and the University of London. At the School of the Royal Academy of Arts in London he won Silver Medals and studied under John Singer Sargent, a close family friend. Lawrence Alma-Tadema was another friend of his parents, and much of Young-Hunter's early work is strongly influenced by the Pre-Raphaelites.
His wife, Mary, whom he met through his studies, also worked in the style. Young Hunter exhibited at the Royal Academy from 1900 to 1913 where his paintings received highly favorable reviews. His work also was shown at the Tate Gallery and the Luxembourg Museum in Paris. He was elected RBA in 1914. He lived at Gifford's Hall, Suffolk.
Young-Hunter had been fascinated with American Indians since attending Buffalo Bill's Wild West Show as a youth in London.
He settled in Taos, New Mexico and became a part of the colony of artists around Mabel Dodge Luhan. He died at Taos on 9 August 1955.
SIZE: 57.5 x 39 inches inc. frame.
PROVENANCE: *Private Collection, Kent.
*With Roy Precious Fine Art. Sold in 2014
*London Private Collection.
Verso: old inventory number 14854.

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 The Hon. Frederick John Shore, ...

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Oil on canvas in the original Regency gilt frame.

This is a superb portrait of the young nobleman, sensitive and insightful, his hair in the fashionably Byronic style. It is a fine example of the best work of Devis.

THE HONOURABLE FREDERICK JOHN SHORE, (1799-1827), 2nd son of the 1st Lord Teignmouth, Governor General of India and anti slavery campaigner.
The sitter was born in England in May 1799 and married Charlotte Mary Cornish (1800-1883), the daughter of his mother's younger brother, in January 1830. He was the author of "Indian Affairs", a noted political treatise, whilst an employee of the East India Company.
At this time the East India Company ruled large areas of India with its own private armies, exercising military power and assuming administrative functions.
Company rule in India effectively began in 1757 and lasted until 1858 when, following the Indian Rebellion of 1857, the Government of India Act 1858 led to the British Crown assuming direct control of India in the form of the new British Raj.
An old handwritten label verso informs us that Frederick was killed "at the storming of a Robber Fort in India" two days before his 38th birthday.

His wife bore him three children, Louisa Sara, Arthur Frederick and Clara Maria.

ARTHUR WILLIAM DEVIS (1762 - 1822). Devis was the son of Arthur Devis, a successful portrait painter. Devis enrolled at the Royal Academy Schools at the age of twelve and exhibited at the Royal Academy from 1775. In 1782, he embarked aboard the Antelope for a voyage to the East Indies, in the capacity of draughtsman. The ship was wrecked and Devis and the crew were stranded for a year on an uninhabited island in the Pacific Ocean. After a series of extraordinary adventures, during which he took part in the wars of the natives on a neighbouring island and received two arrow wounds, Devis arrived in India, where he settled for ten years, establishing a successful practice as a painter of portraits and local scenes. He attracted the attention of Sir William Jones, Lord Cornwallis and General Harris. He returned to England in 1795, concentrating mainly on painting portraits and a few notable history subjects. Perhaps his best known painting is the famous "Death of Nelson".

SIZE: 39 x 34.25 inches inc. frame.
PROVENANCE: By descent in the family of the sitter.
Images 6 and 7 are from Paviere's "The Devis Family of Painters" (With thanks to Nick Cox of Period Portraits)
VERSO: two old handwritten labels, one described above, the other inscribed 'Property of Hugh Shore'. A modern label inscribed 'Lady Teignmouth'.

Portrait of a Young Boy and his ...

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Oil on canvas now in a 19th c. gilt frame.

A pleasing Georgian portrait of a young boy still 'unbreeched'.
Breeching was the occasion when a small boy was first dressed in breeches or trousers. From the mid-16th century until the late 19th or early 20th century, young boys in the Western world were unbreeched and wore gowns or dresses until the age of seven or eight. Breeching was an important rite of passage in the life of a boy, looked forward to with much excitement. It often marked the point at which the father became more involved with the raising of a boy.

The signs that the sitter is a boy and not a girl are the short hair and the dog being active rather than docile by the side of the sitter.
The rose buds are a symbol for youth and its fleeting nature and the dog, although probably a pet, also represents fidelity and trustworthiness.

The artist is at yet not known, but he seems to have been influenced by the work of Thomas Beach (1738-1806) who was the favourite pupil of Sir Joshua Reynolds. Beach was based in Bath but travelled round Dorset and Somerset painting portraits.

SIZE: 28.5 x 24.5 inches inc. frame.

Private Collection, Sussex.


Portrait of a Young Gentleman c.1685; Attributed ...

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Oil on canvas in later giltwood frame.

The fashionable and expensively dressed sitter looks confidently out of the frame as if surveying his extensive lands.
His high wig (from which fashion came the expression 'big-wig' for someone important), his silks, his sword and particularly his stance, all make this the archetypal Baroque portrait.
The pose and treatment of the material are typical of Kerseboom. The hugely expensive lace is depicted with great care and skill.
This type of portrait was usually on a larger scale e.g. 50 x 40 inches; the fact that this is 'in small' suggests that it was for the 'cabinet'...the intimate room for favoured possessions that was so fashionable during the Baroque period. Perhaps painted for a wife or lover?

JOHN (JOHANN) KERSEBOOM (working 1680s - 1708) Born in Solingen, the Rhineland; came to England in the 1680s he quickly acquired a large portrait clientele. His patterns derive from Lely and Kneller, but his heads have recognisable individuality. He charged £16 10s for a framed 50 x 40 in 1694.

SIZE:canvas size; 20 x 16 inches.
24.25 x 20 inches inc. frame.
PROVENANCE: Private Collection.

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 of William Helyar c. 1745: English ...

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Oil on canvas in a carved and giltwood frame.

The sitter, William Helyar (1723 - 1784) was a member of the family that owned Coker Court and had lordship over East Coker, Somerset from 1616 to 1914. They also had an estate at Canonteign in Devon, and Sedghill in Wiltshire. The family came originally from Devon, where they seem to have been of importance as the William Helyar of that time represented Melcomb-Regis in Parliament in the reigns of Richard II and Henry IV.

William Cary sold the manor of East Coker in 1620 to William Helyar, archdeacon of Barnstaple, to be settled on the marriage of Christian or Christine, William Cary's eldest daughter, to Henry, son of William Helyar. Henry (d. 1634) was followed by his son William (d. 1697), his grandson William (d. 1742), and his great grandson William Helyar (d. 1784) who married Betty Weston. They had four daughters and six sons..William, his heir; Robert of Newton Park, Cornwall, who died in the army aged 23; Weston, who succeeded his brother at Newton Park and was a magistrate for Somerset; Edward, born 1743; Charles born 1750, an officer in the army, killed in the American War; John, in holy orders, rector of Hardington and Tollard Royal, in Wiltshire.
William was Sheriff of Somerset in 1764.

In 1812 William Helyar (d. 1820), son of the last, gave the manor to his son William (d. 1841) and he was followed in the direct male line by William (d. 1880) and Horace (d. 1893). Horace was succeeded by his daughter Dorothy who married Godfrey Walker Heneage. In 1914 the estate was put up for sale but lordship was not included.

(Coker Court is shown in Image 5)

SIZE: 35 x 30 inc. frame.
PROVENANCE:Deceased estate, Sussex.
Verso: old handwritten label; "William Helyar, eldest son of Mr. Helyar of Canonteign". Plate on the frame has the same inscription.