SOLD....Portrait of a French infantry officer 1792; ...

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Oil on canvas in giltwood frame.

Painted just three years after the storming of the Bastille and the overthrow of the French monarchy this is a pleasingly frank portrait of a French officer of the Republican Infantry of the Line; he looks determined but of a good nature.
The unknown artist has used his considerable skill not just to accurately depict the sitter, but also to give the viewer a strong sense of the officer's personality.

Inscribed lower left 'Tanisch a Gle de France en 1792'.
1792 was the year in which the first French Republic was proclaimed and was marked by great military success, expanding the French borders across Europe.

SIZE: 27.75 x 23 inches inc. frame

PROVENANCE: Nottinghamshire Private Collection.
Private Collection of a Fellow of Cambridge University.

SOLD....Portrait of Lady Derwentwater, by Michael Dahl ...

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Oil on canvas in well carved period frame, inscribed upper right 'Lady Derentwater'. (This was the way 'Derwentwater' was pronounced in Cumberland at the time; indeed, some still pronounce it this way today).

This portrait is typical of Dahl’s eloquent depiction of aristocratic women.
The sitter rests her elbow on a stone plinth and supports her head with her hand,the drapery and sitter’s turned head impart a subtle sense of movement, which, combined with the relaxed, even wistful pose helps convey a feeling of tranquillity.
The veil on Lady Mary's head is a feature often used by Dahl, e.g. his portraits of the Duchess of Ormonde, Elizabeth Felton, Lady Hervey and the Countess of Clarendon.

MARY, COUNTESS OF DERWENTWATER (1673 - 1726) was the illegitimate daughter of Charles II of England by his mistress, the actress and singer Mary 'Moll' Davis, a celebrated rival of Nell Gwynn, King Charles' London-born mistress who was also an actress. She was given the title of Lady Mary Tudor.

In the 'Masque for the Entertainment of the King', John Blow's opera 'Venus and Adonis' of 1680, Moll created the role of Venus, while her daughter, Lady Mary, sang Cupid. This was the first English opera.
Charles gave his daughter an annuity of £1500 in September 1683, and she was married to Edward, Viscount Radcliffe, later Earl of Derwentwater, in August 1687.
This prestigious marriage alliance with the ill-fated Stuarts proced to be the downfall of the Radcliffes, who, after the Glorious Revolution, were noted as the most wealthy and powerful Jacobite family in the North of England.
Two of Mary's three sons were to be executed for their parts in the Jacobite risings of 1715 and 1745. James, who died in 1716, was described as being an accomplished singer and guitarist, so perhaps he inherited this from his mother and grandmother...who appears in Lely's portrait of c.1674 playing a guitar.

After the Earl's death on 29 April 1705, Mary married Henry Graham (d. 7 January 1707) on 23 May 1705. After Henry's death she married Major James Rooke (d. 16 June 1773) on 26 August 1707.
She died in Paris on 5 November 1726, shortly after her fifty-third birthday.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. 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'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
This painting is typical of Dahl's sensitive portraiture and is of considerable charm.

SIZE: 38 x 33 inches inc. frame.
*For many years in the Collection of the Seymour family of Wiltshire.
*Sold at Christie's c.1950 and bought by a Somerset family with Seymour connections.
In their possession for c.57 years.
*Then another Somerset private collection.

VERSO: old label with information on the Derwentwaters and the inscription "From The Times Octbr 13 1874. C.H. Seymour"

SOLD...Portrait of a Noblewoman c.1710; Circle of ...

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Oil on canvas in good quality carved and giltwood period frame.

Painted within a feigned oval the young lady, wearing her fashionable 'undress' robe, looks directly at the viewer in a confident, almost appraising, manner. She is almost certainly a member of the Manners family of Haddon Hall and Belvoir Castle; the ancient family of Manners is headed by the 11th Duke of Rutland.
Unusually, for this period, the sitter wears a large diamond hair clip. (Until the 19th c. all diamonds were flat or table cut and thus appear as black gems in portraiture).
A well painted portrait, very strongly influenced by Kneller, and absolutely typical of its time.

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, some very talented in their own right, emulated his fashionable style.

SIZE: 30 x 25 inches canvas size
36.5 x 31.75 inches inc. frame

PROVENANCE: By descent within a branch of the Manners family.

SOLD.....Portrait of Mother and Child c.1795-1800 by ...

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Oil on canvas in period giltwood frame.

This tender double portrait of a mother and her daughter is beautifully composed and executed. The mother sits in a mahogany armchair, her daughter on her lap, with a stone column in the background and a fragment of landscape beyond.
The positioning of the sitters arms and heads sweeps the viewer's eye round in an embracing circle within which is a timeless display of love and affection of a mother and her child.

At the base of the column is the signature "Weaver". There was a portraitist, M. Weaver, working in Bath who is documented as paying a visit to Ireland in 1766/67, but this is all that is recorded of him.
Whether the artist is that Weaver or another is purely academic, what matters is that the artist had considerable talent and insight into the humanity of his sitters, and thus was able to express this love without in any way being overly sentimental.

In his painting style he was clearly influenced by the fashionable John Hoppner.
With Gainsborough and Reynolds, JOHN HOPPNER (1758 - 1810) was one of the leading portrait painters in late eighteenth-century Britain. He entered the Royal Academy Schools in 1775, where he won a Gold Medal in 1782. His rapid rise was accompanied by rumours (never denied by Hoppner) that he was the illegitimate son of the future King George III, and it is true that in his education and early career Hoppner benefited from a considerable degree of royal sponsorship. He was brought up as a child of the Chapel Royal, tutored in the Royal Library where King George paid great attention to his progress, and finally presented him with an allowance in order that he might establish himself as a painter.

By the late 1780s Hoppner was a regular contributor to the Royal Academy exhibitions and quickly established himself as a fashionable portrait painter. In 1789 he succeeded Reynolds in his appointment as painter to the Prince of Wales in 1789, many of whose circle he painted.

SIZE: 33 x 26.25 inches inc. frame.
PROVENANCE: English Private Collection.
VERSO: old framer's label for A. R. Skillen & Co. Bloomsbury.

SOLD...Portrait of Thomas Cookson c.1735, by Jonathan ...

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Oil on canvas in 18th c. giltwood frame.

The sitter was a member of the Cookson family of Cumberland and Yorkshire; he died in 1773.
Thomas's father William (died 1743) was a wealthy merchant and pewterer in Penrith. He married Susannah Idle in 1701.
The Cooksons also owned ironworks and colleries. Thomas's uncle was the Reverend Joseph Cookson, Vicar of Leeds.
The poet William Wordsworth's mother was a Cookson.

This portrait, with seven others of the Cooksons hung in Keith Hall, Aberdeenshire, home of the Earls of Kintore. It can only be presumed that there was some marital conection between the families, as why else would a powerful aristocratic Scottish family dating back to the 12th century have eight portraits of an English mercantile middle-class family hanging in their ancestral home?

The sitter, Thomas Cookson, expensively bewigged and wearing the fashionable silk wrap of a gentleman at leisure, looks rather inquiringly at the viewer. He seems at ease, and his build and ruddy complexion indicate a man who enjoyed good living.
The face is beautifully painted and a strong sense of the character of the sitter is present; absolutely typical of Richardson's mature English style.

JONATHAN RICHARDSON c.1665 - 1745 was the leading native born painter of the first forty years of the century, also a writer on art and literary topics. He was a pupil of Riley 1688-91 and helped found the 1711 Academy; he and Jervas were the busiest English portrait painters in rivalry with Kneller and Dahl. Jervas excelled with women's portraits and Richardson with men.
His works, like the example here, are solid, sound, good likenesses, and unpretentious.

SIZE: 39 x 32 inches inc. frame
PROVENANCE: By descent to the 14th Earl of Kintore of Keith Hall, Aberdenshire.

(The fourth photograph shows Keith Hall as it is today.)

SOLD...Portrait of a Lady c.1785, thought to ...

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A sensitive and charming portrait in pastels of a beautiful young lady believed to the Duchess of Devonshire c.1785; attributed to John Russell (1745 - 1806).

Georgiana, Duchess of Devonshire (1757-1806), was born Lady Georgiana Spencer (ancestress of Lady Diana Spencer, Princess of Wales). She married the Duke of Devonshire in 1774 and became the undisputed queen of fashion, a famous beauty, an influential hostess and an important figure in the politics of the time.

Russell was born in Guildford, son of the Mayor, and educated at Guildford Grammar School. He studied crayon drawing with Francis Cotes until 1767; he entered the Royal Academy School in 1770 where he was a Silver Medallist. He was elected ARA 1772, RA 1778.
Based in London, he toured the provinces producing attractive crayon portraits and the occasional oil. He published 'Elements of Painting with Crayons' in 1772 and was appointed Crayon Painter to the King and to the Prince of Wales in 1790.

Russell was a keen astronomer; he inherited a large estate in 1781.
After 1790 he worked mainly in Yorkshire, dying of typhoid in Hull in 1806. He is buried beneath the choir of Holy Trinity, Hull.

Russell's paintings are in the National Portrait Gallery; the Royal Collection; the British Museum etc etc.

SIZE: 35 x 26.5 inches inc. frame.
29 x 20.5 inches unframed.

PROVENANCE: Devonshire Private Collection.


SOLD....Portrait of Anna Maria, Baroness Dacre c.1740; ...

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Oil on canvas in a Late Georgian Neo-Classical gilt frame.

This portrait of the Baroness shows her in the State robes of a peeress and was probably painted on the occasion of her marriage.
ANNA MARIA PRATT was born before 1724 and died in 1806. She was the daughter of Sir John Pratt, Lord Chief Justice of the King's Bench, and Elizabeth Wilson; she was the sister of Charles, 1st Earl Camden.
Anna Maria married Thomas Barratt-Lennard, 17th Baron Dacre in London in 1739. They had one child, the Honourable Ann Barbara, who died aged nine.

Lord Dacre had a son out of marriage by Elizabeth FitzThomas; Thomas, later 1st Baronet, was born in 1762 and was brought up by Lord and Lady Dacre and treated as if he had been the legitimate offspring of their marriage. Anna Maria acted as a mother, and as an exceptionally good mother too. Knowing she could have no more children, she connived at this intrigue for her husband's sake as he was anxious to have a son to whom he might leave the family estates.
The boy was given the education and upbringing that would prepare him to assume the rank and status of the Barrett Lennard family. Lord Dacre died in 1786 and in his will he asked his wife to 'take upon herself the guardianship of his child, who he directed was to assume the names of Barrett and Lennard and the arms and crests belonging to those families'. This she did.

JEAN-BAPTISTE VAN LOO (1694 - 1745) was born in Aix-en-Provence; he worked in the south of France, Turin, Rome and Paris.
He came to England in 1737 where he became immensely successful and fashionable, much to the annoyance of the native born English portraitists.
His Continental style was considered smart and his manners and manner appealed to the upper classes.

SIZE: 38 x 32.5 inches inc. frame.

PROVENANCE: From the Estate of Brigadier Sir Edward Ford KCB, GCVO [1910-2006] (Asst. Private Secretary to King George VI 1946-52)

According to family tradition, sold from Mrs. Fitzherbert's house near the Royal Pavilion, Brighton, c.1840, where it was acquired by the great-great-great-grandfather of the previous owner (as the sitter was a family member) and thence by descent to Henry Robert, 2nd Viscount Hampden and 24th Baron Dacre, then to his son Robert Brand, 1st Baron Brand, then to his daughter the Hon. Virginia Brand, wife of Sir Edward Ford.

NOTE: Maria Anne Fitzherbert, née Smythe (26 July 1756 – 27 March 1837), married the Prince Regent, future King George IV, in a secret ceremony, and was his companion for a large part of his adult life. However the marriage was invalid under English laws concerning royal marriages and she never became Queen or acquired any other title. For political reasons George was made to marry Caroline of Brunswick; it was an unhappy marriage.


SOLD....Portrait of a Young Nobleman c.1630; Studio ...

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Oil on canvas in carved and giltwood frame.

This is a fine portrait of a young aristocrat painted in the typical swagger pose favoured by Mytens for his noble sitters (v. his portraits of Richard Rich, Earl of Warwick, King Charles I, and William Knollys, Earl of Banbury among others).
Yet despite the aristocratic posture the artist manages to sensitively convey a sense of a slight insecurity in the boy as he is painted, perhaps for the first time, as a man.
His identity is, as yet, unknown, but his expensive and fashionable clothes are of the Court.

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt.

By 1618, he had moved to London where his initial patron was the leading art collector Thomas Howard, 21st Earl of Arundel. Mytens painted the Earl and his Countess, and was soon commissioned to paint King James I and his son Charles, Prince of Wales. In 1625 he became painter to King Charles I.

After the prince's accession to the throne as Charles I in 1625 Mytens produced such a large number of full length portraits of Charles I and his courtiers, including duplicates, that it is assumed that he had workshop assistance. Mytens made visits to the Netherlands in 1626 and 1630, perhaps to study the latest developments in his field, more particularly the works of Rubens and Van Dyck.

Mytens introduced a new naturalism into the English court portrait, but after the arrival in England of Anthony Van Dyck in 1632 he was superseded as the leading court portraitist, and around 1634 he appears to have returned to the Netherlands permanently.
Some of Mytens' works are still owned by the Royal Family.

SIZE: 51 x 42 inches inc. replica frame.

with the Simon Carter Gallery in 1990;
London Collection of Severin Wunderman.

SEVERIN WUNDERMAN Born Brussels, 1938.
Died Nice, 2008.A child Holocaust survivor he built up a multi-million pound business in luxury watches and became a major art collector and philanthropist. In the 1970s he set up watch production for Gucci, which he ran and controlled for over 25 years until Gucci Timepieces was bought back by the family in 1998.

Diagnosed with inoperable lung cancer in the 1990s, he promised the specialist, who was reluctant to treat him, $5 million a year in research funding for every year he survived.
This resulted in the Severin Wunderman Family Foundation for research into incurable illnesses. He eventually died from a stroke.
He was a board member of Steven Spielberg's Shoah Foundation and received the Légion d'Honneur in 2005.

This portrait hung in the hall of his London house until his death. Wunderman also owned a French Chateau in the Cote d`Azur and a penthouse in Los Angeles.

SOLD....Portrait of a Young Nobleman c.1635; Attributed ...

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Oil on canvas in gilded frame.

The unknown young aristocrat, in what seems to be Court dress, wears an absolute fortune in clothing; sumptuous silk, satin and lace decorated with fine embroidery, even the inside of his cloak is richly ornamented.
In his left hand he holds his fashionable hat and in his right a document which seems to have some form of plan drawn on it...posible referring to the event this portrait was painted to commemorate.

GILBERT JACKSON (active 1621-1640) was an itinerant portrait painter who seems to have worked in North wales in the 1630s. He also had an academic clientele in Cambridge and Oxford.
Jackson was made a Freeman of the Painter-Stainers Company, London in 1640.
His work, like this one, tends to be highly finished, with an eye for detail and although it follows in the manner of Cornelius Johnson it retains a charmingly naive quality.

SIZE: 45.5 x 38 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.

Portrait of the Hon. William Feilding c.1705; ...

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Oil on canvas in fine carved and giltwood period frame.

FEILDING, Hon. William (1669-1723), of Ashtead, Surrey and Duke Street, Westminster

Born 1669, 2nd son of William Feilding, 3rd Earl of Denbigh. Educated Eton c.1680–6; Queen’s, Oxford 1686.

Feilding, who in 1704 had bought an office with a salary of £500 p.a., made a highly advantageous marriage the following year to a wealthy widow, Lady Diana, daughter of Francis Newport, 1st Earl of Bradford, with a parliamentary seat at her disposal. She had title during her lifetime to the estates of her first husband (with no surviving children to complicate matters) and thereby enjoyed the nomination of one Member at Castle Rising. Feilding obtained the seat in 1705 when a family friend chose to sit elsewhere. It was gossiped before the wedding that ‘this old lady, for she is near fifty if not quite, is fallen in love with this young Feilding, and says she only begs he will be civil to her; she fears he cannot love her, though she does him so much’. Although himself the younger brother of a Tory peer, Feilding was now connected with various Court Whigs among his wife’s kinsmen and her first husband’s friends. He also came into contact with Robert Walpole II, who controlled the other seat at Castle Rising, but this association was not particularly friendly, as the Howard and Walpole interests co-existed in the borough uneasily and in a constant atmosphere of mutual distrust.

In Parliament Feilding was a Whig, with leanings towards the Court. On 18 Feb. 1706 he voted with the ministry over the regency bill. He was marked as a Whig in two lists of 1708. In the same year he resigned his office of lieutenant of the yeomen of the guard. Having supported the naturalization of the Palatines in 1709, the following year he voted for the impeachment of Dr Sacheverell, and on 7 Dec. 1711 he voted for the ‘No Peace without Spain’ motion. He opposed the French commerce bill on 18 June 1713 and voted against the expulsion of Richard Steele on 18 Mar. 1714. In the Worsley list he was classified as a Whig.

Feilding was appointed to the Board of Green Cloth in 1716, most probably through the interest of his wife’s family, the Newports, both at Court and with the clerk of the Green Cloth, their Shropshire ally Sir William Forester. Feilding died at Epsom on 21 Sept. 1723 and was buried at Ashtead. ‘I regret him prodigiously’, wrote his niece, Lady Mary Wortley Montagu, on hearing of his death. His wife outlived him.
{Published in The History of Parliament: the House of Commons 1690-1715, ed. D. Hayton, E. Cruickshanks, S. Handley, 2002. Available from Boydell and Brewer}

IMAGE 6 shows a studio portrait of Feilding, inscribed with his name and further information. We owned and sold this portrait in 2007.

Our thanks to James Mulraine, art dealer and historian, who saved this gentleman from anonymity.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. 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'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
This painting is typical of Dahl's sensitive portraiture and is of considerable charm.

SIZE:37 x 31.5 inches inc. frame.
PROVENANCE: Collection of Mrs. Pauline Willes, Cypress Cottage, Isle of Wight (image 5).

Portrait of a Young Gentleman c. 1680; ...

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Oil on canvas in 18th century giltwood frame.

A fine portrait of a handsome young man; he looks directly and thoughtfully at the viewer. The sitter is contained within a feigned stone oval...a favourite conceit of the artist.
The portrait is typical of the pleasant and direct manner in which Beale depicted her sitters.

MARY BEALE (1633-1699) was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.

She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street.

The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a patent clerk, and also due to the Great Plague of London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio.
She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet.
She became reacquainted with Sir Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits.
Mary Beale died in 1699 in Pall Mall, and was buried at St. James's, Piccadilly in London. Her husband died in 1705.

SIZE: 37 x 31.5 inches inc. frame.
PROVENANCE: Oxfordshire Private Collection.

SOLD...Portrait of a Lady c.1680; attributed to ...

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Oil on canvas in late 18th c. Continental part gilt frame.

This 'portrait de cabinet' (a painting for a small intimate room known as a cabinet) is a characteristic example of the international baroque style of which Netscher was a prime proponent; it elegantly exemplifies the artist's interest in depicting the luxurious.
The painting is as much a study of fine clothes and expensive textiles as it a portrayal of a lady. Netscher was particularly renowned for his skill in depicting white satin. The tactile and visual richness of the cloth is captured brilliantly, and seems to gleam with inviting realism contrasting with the fashionably pale skin of the sitter.

The lady gracefully rests an arm on a costly rug and looks invitingly at the viewer, a bowl of roses to her left (white for spiritual love, red for carnal) and a park in the background. Her serene composure complements the luxury of her attire and surroundings, unifying in the painting with a sense of extravagent beauty.

CASPAR NETSCHER(1639-84) was a Dutch portraitist of Holland's Golden Age of painting. In his early career at The Hague, where he settled in 1651, he also painted genre and religious scenes; but from c.1670 onwards he devoted himself exclusively to the portrait, often of Court members in The Hague, earning a considerable fortune. His reputation was so highly regarded that he was invited to England by King Charles II.

Netscher worked elegantly and with a bit of French influence, exquisitely finished and influencing Dutch portraiture into the 18th century.

SIZE: 32 x 22.5 inches inc. frame

PROVENANCE: Private Collection, Surrey.
Private Collection, Cheshire.