Triple Portrait of The Hon. Mrs. Denham ...

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Oil on canvas in giltwood frame, signed and dated "Edward Hughes 1896" lower left, on the stone plinth.

This superb triple portrait shows the Honourable Mrs. Denham-Cookes and her children Arthur Brownlow and Clara Evelyn in their garden at 16 Princes Gate, London. (This house is now the Iranian Embassy and is famous for its siege and capture by the SAS in 1980).

Their father was Colonel George Denham-Cookes, and his son Arthur followed him into the army, becoming a captain in the 24th Battn. London Regiment.
Prior to this he had become an M.A. Trinity Hall, Cambridge and a Member of the Inner Temple.
Arthur had married, in 1916, Ursula Bloom, the novelist, and in 1917 they had a son, Pip Denham-Cooke. Tragically, having survived the First World War, Arthur died of influenza in November 1918 aged 27.

EDWARD HUGHES (1832–1908) was a highly successful painter who exhibited at the Royal Academy, The British Institute, and The Grosvenor Gallery, displaying over the period from 1847 to 1892 a total of 69 works. He is best known for his genre pieces in the manner of Thomas Faed and in his later career for his portraits of the aristocracy, which strongly recall the ‘fancy’ pictures of J. E. Millais. Feted by the Victorian elite, Hughes’s art commanded high prices; his early work displayed a Pre-Raphaelite attention to detail, and his pictures produced in the final parts of the century are lavish and showy in the manner of Victorian impressionism, with a flamboyant emphasis on bright tones and light effects.

Both idioms embody a sharp understanding of the subject. Hughes was admired by his fellow-artists and drew approving comments. Millais – whose work he imitated – was thoroughly impressed, noting how many artists could draw a man, but Hughes was distinguished by his capacity to ‘paint a portrait of a lady'.
{Simon Cooke, Ph.D The Victorian Web.}

SIZE:52 x 46 inches inc. frame.
PROVENANCE: by direct descent through the family.

Portrait of Thomas Selkeld 1836, by William ...

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Oil on canvas in original gilded frame.

A good portrait of the William IV period; Thomas Selkeld, elegantly dressed, regards the viewer with a direct, slightly quizzical, look.

The SALKELDS are an ancient and notable family who have occupied all levels of society.
The Salkeld name is a locative one derived from Great and Little Salkeld, two villages situated in the Eden valley in Cumberland between Carlisle and Penrith. Like a number of Lakeland names Salkeld comes from the Old Norse and means ‘Willow wood’. There were early Salkelds settled in Addingham, near Little Salkeld in the Eden valley by the 13th century.

Among the many mistranscriptions there are five variant spellings which are notable for their consistency and number of occurrences. These are: Salkield; Salkilld; Sawkill; Soakell and Sokell. The closer you get to Cumberland, the less variations there are, and of the above, Salkield is principally in County Durham, Sawkill equally divided between Durham and Yorkshire, Sokell mainly in Yorkshire and Salkilld in London. It is not uncommon however to find Salkeld and one or more variants in the same parish.

Gifts from the King saw the Salkelds settled in Corby Castle on the river Eden. Sir Richard Salkeld, Lord of Corby married Jane Vaux of Catterlen in the mid 15th century. Their effigies are in Wetheral church, opposite Corby Castle. They had no male heirs, but the two eldest daughters married male cousins and kept the noble line going.
In the early 17th century Lord William Howard, son of the 4th Duke of Norfolk had made over to him Corby Castle from the Salkelds, in settlement of a debt.
Lancelot Salkeld was the first Dean of Carlisle cathedral and erected the Salkeld screen, which you can see in the cathedral to this day.

THOMAS SALKELD was the son of Thomas Salkend (born 1778), a farmer of 35 acres, and Hannah Nicholson (born 1775), and he was born in 1803, making him 33 at the time of the portrait.
Thomas was a solicitor and lived in Appleby in a large Victorian house which is now the HSBC. He was a Town Councillor in 1849.
The family maintained an apartment in this building to the present day, and this portrait came from there.

Our thanks to Keith Salkeld for his help.

WILLIAM BELL SCOTT 1811-1890 was a Scottish artist and poet, but little else is known of him at this time. Clearly he was a talented and perceptive artist and is worthy of more research.

SIZE:42.5 x 37.5 inches inc. frame.
PROVENANCE: By descent.

Portrait of Justina van Teylingen c.1613; Studio ...

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SOLD....Oil on panel in reproduction frame of correct type.

JUSTINIA VAN TEYLINGEN (1596- 1643) was married to Adriaen de Kies van Wiessen in 1613 when she was seventeen.
This is a contemporary half length version of the three-quarter prime version painted by van de Voort to commemorate her marriage. Studio versions were often made as gifts for relatives.

CORNELIS VAN DER VOORT or van der Voorde (Antwerp 1576 - Amsterdam 1624) flourished as a portrait painter in Amsterdam from around 1614 to his death in 1624.
This painting is an excellent example of his portraits popular with wealthy Dutch burghers. Justinia is soberly but richly dressed in a lace-trimmed cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, embroidered stomacher, black skirt and long black vlieger overgown. The latter denotes that she is a married woman and was worn with great pride. A heavy gold chain hangs from her neck.
Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.

The artist invests the portrait with great dignity. He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex golden stitches which create the pattern of flowers and leaves on the stomacher.
Black was the high fashion of that era and this portrait rises to the challenge of painting black on black to depict the floral pattern of the vlieger overgown. Standing solidly in space, beautifully moulded by light, the portrait has a lively human presence. The armorial bearings of Justinia and her husband are depicted in the background.
Van de Voort's work was in great demand and held in high esteem. In 1619 Van der Voort was the head of the Guild of St. Luke. He had a strong influence on the early portraits of Rembrandt, as well as the work of Nicolaes Eliasz. Pickenoy and Thomas de Keyser. His own students included David Bailly, who copied his collection of paintings, Pieter Luyx, Dirk Harmensz. and probably Pieter Codde...all artists of note.
SIZE: 36.5 x 31.5 inches inc. frame PROVENANCE: French private collection. Verso: an indistinct red wax collection seal.

SOLD....Portrait of Marie Mancini by Jacob Ferdinand ...

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SOLD...Oil on canvas in a carved and giltwood Louis XIV style frame.

This beautiful portrait shows Voet's skill at its finest; sensitive, sensual, insightful and with a real sense of the sitter's presence.

Although the stretchers are inscribed with the name Marie Anne Mancini, Duchesse de Bouillon, the portrait is far more likely to be Marie Mancini (Anna Maria Mancini).
The name Pierre Mignard is also inscribed but the artist is without doubt Jacob Voet.

MARIE MANCINI, Princess Colonna and Vicerein of Naples and Aragon (Anna Maria Mancini; 1639�1715) was the middle of the five Mancini sisters, nieces to Cardinal Mazarin who were brought to France to marry advantageously. "Dark, vivacious and beautiful,"(Sir Oliver Millar) Marie captured the biggest prize of the French court: the love of Louis XIV.
Marie did not consummate her relationship with the Sun King. His love for her was a somewhat idealistic one, but he was so besotted that he wanted to marry. Eventually, Cardinal Mazarin and Anne of Austria separated the couple, banishing Marie into exile and arranging Louis' marriage to his cousin, Maria Theresa of Spain.
In 1661, Marie was married off to the Italian Prince Lorenzo Onofrio Colonna, who remarked after their wedding night that he was surprised to find her a virgin as one does not normally expect to find 'innocence among the loves of kings'. (from Antonia Fraser's book 'Love and Louis XIV'). They had three children, all sons. After the birth of her third child, relations between Marie and her husband deteriorated. On May 29, 1672, fearing that he would kill her, Marie left Rome accompanied by her sister Hortense.
In 1677, in order to support herself, she wrote her memoirs. She did not return to Italy until her husband's death in 1689. She died in Pisa and is buried in the church of the Holy Sepulchre there.

JACOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century. He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture. Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Voet specialized in half-length portraits, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. He was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have very striking, memorable eyes, always large and evocative.
SIZE: 17.75 x 15 inches (unframed) 23 x 21 inches inc. frame.
PROVENANCE: French private collection. Verso: red wax collector's seal, probably 18th c. Various incorrect inscriptions, most likely early 20th c.

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.

SOLD....Portrait of Sir Nathaniel Johnson c.1680, later ...

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Oil on canvas in original high quality carved and giltwood 17th c. frame.

SIR NATHANIEL JOHNSON (C.1645-1714) was the eldest son of William Johnson, merchant, of Newcastle by Margaret, daughter of William Sherwood, merchant, of Newcastle. Johnson was knighted on 28 Dec. 1680, which is probably when this fine portrait was painted.

Deputy Treasurer of Barbados by 1668; Committee for hearth-tax 1679-84; Governor of the Leeward Isles 1686-9, Governor of Carolina 1702-8.

Member of Eastland co. Newcastle 1668, Merchant Adventurers 1669, Freeman 1673; J.P. County Durham 1674-?86, Collector of hearth-tax, Cumberland., Westmoreland, Northumberland and County Durham by 1675; Commissioner for Assessment, Co. Durham 1677-9, Newcastle 1679-80, carriage of coals, Newcastle 1679; Captain of Militia Foot, Newcastle by 1680-?Feb. 1688; Member, Hon. Artillery Co. 1681; mayor, Newcastle 1681-2, alderman 1682-June 1688.

Nathaniel Johnson had become a prominent merchant by 1686, when the Lords Proprietors made him a Cassique of South Carolina, and he received appointment as governor of the Leeward Islands. Resigning that post in 1689, Johnson moved to Carolina and he was commissioned governor of the colony in June 1702. Taking over from deputy governor James Moore in March 1703, Johnson quickly moved to limit the rights of Dissenters. After the proprietors disallowed the Exclusion and Church acts of 1704, the Establishment Act of 1706 became law and controlled South Carolina’s government until the Revolution.

The colonists' constant fear of attack from Spanish Florida sharpened when England declared war against Spain. A wall along the eastern edge of Charles Town had been planned since 1694, but construction had been sporadic. In late 1704 governor Johnson reported that the project remained incomplete, and pushed for funding a new plan: a ring of fortifications around the town, with a curtain wall connecting the defensive works. The fortified city was tested in August, 1706, when a French and Spanish fleet appeared in Charleston Harbour. With Governor Johnson leading the courageous defence, the invasion was repelled.

Carolina politics, however, remained tumultuous. In December 1708, the proprietors appointed Edward Tynte to replace governor Nathaniel Johnson. Johnson remained in office until his successor arrived in Charles Town in November 1709.

Sir Nathaniel Johnson retired to his Silk Hope plantation, granted to him in 1696 as 1,940 acres; he died here in 1712 and was buried there. Among South Carolina’s later governors were his son, Robert Johnson, and Thomas Broughton, the husband of his daughter Anne Johnson.

Johnson's Fort at Windmill Point on James Island was named for Governor Johnson.

JOHN RILEY (1646 - 1691) was born in London where his father was Lancaster Herald; he built a thriving portrait painting practice with the middle classes. In December 1688 he and Sir Godfrey Kneller were jointly appointed Principal Painter to the King. Riley was an outstanding portraitist catching much of the character of his sitters, as is clearly shown in this excellent quality portrait of Johnson.

SIZE:37 x 33 inc. frame
*A Southern English Private Collection.
*With Roy Precious Fine Art.
*Warwickshire Private Collection from 2004.

Verso: a 19th c. handwritten label 'Governor Johnson an ancestor of the Bonner family. Governor of Jamaica. Sir Godfrey Kneller.' and an old storage label 'E. Judge. 8, East Cross, Tenterden'

SOLD....Portrait of a Young Girl c.1700; Circle ...

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Oil on canvas in a 19th c. gilt frame of 17th c. 'cassetta' type.

A charming portrait of a pretty young girl by a member of the Circle of Robert Byng.

The sitter is holding a variegated tulip, which, in the Language of Flowers, symbolises 'beautiful eyes'; the large rose, of course, is the symbol of love.
The basket of flowers together also represent the beauty and fleeting quality of youth.

The girl wears a Classical robe, to her right a draped curtain and to her left the landscape of Arcadia...the mythical world so fashionable at the time.

This artist, strongly influenced by Byng's noted portraits of children, lacks the technical sophistication of his master, especially in the stylised treatment of the drapery.
However there is a strong sense of a painterly delight in using the medium - especially in some of the impasto in the drapery which contrasts pleasingly with the gently painted face.
The painting has a strong appeal and is an endearing image of an attractive young girl.

Robert Byng (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of,and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 44 x 33.5 inches inc. frame
PROVENANCE: a Private London Collection.

Verso: an old label of Francis Draper of Albany Street, London. 'Restorer and Preserver of Paintings in London and the Country'. By appointment to his Majesty the King; then follows a list of noted clients including the National Portrait Gallery and members of the Royal Family.


Portrait of William Dewe c. 1690; Circle ...

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Oil on canvas in fine quality carved and giltwood 17th century frame.
The sitter wears a fashionable and expensive Indian silk draped over his shoulder, these were so costly that Samuel Pepys hired his when he had his portrait painted. He also wears a large and very expensive wig; the expression 'bigwig' for a rich or important person comes from this fashion.

WILLIAM DEWE, gent. held the important post of Seat Clerk in the Prerogative Court of Canterbury. This was the court through which the discretionary powers and privileges of the monarch were exercised, and also had jurisdiction over deceased estates.
This portrait was probably painted at the time of his engagement or marriage to Elizabeth Butler.

VERSO: three old labels;
1) Handwritten in copperplate: 'William Dewe .... Husband of Elizth. Dewe".
2) A different hand: 'Written by John Butler Pomfret of Tenterden, esq. obit 1834. Restored and cleaned in 1871 by Wm. Pomfret .... of Mary Catherine (Pomfret)/eldest daughter of above John Butler Pomfret - Wm. Dewe and Elizabeth Butler were married in the Charter House Chapel by Rev. Wm. Wellsted 25 July 1693 & had 14 children."
3) Victorian period printed label for Messrs Rutley, Picture Dealers and restorers of London.

The John Butler Pomfret who wrote the first label was born in 1765 in Tenterden, Kent, married Mary Curteis in 1789 and died in February 1834.

JOHN RILEY (1647-1691). Chief Painter to the King from 1688.
"He had a good sense of the character of unpretentious sitters and serious men". 'The Dictionary of 16th and 17th Century British Painters' by Ellis Waterhouse.

SIZE: 37.5 x 32 inches inc. frame.
PROVENANCE: by descent through the Butler Pomfret family.
Collection of Richard Ratcliffe, The Manor House, Waddington, Lincs. (see Image 5)

SOLD......Portrait of Alexander Pope (?) c. 1730: ...

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Oil on canvas in gilded frame.

An interesting portrait of a gentleman, thought to be Alexander Pope (21 May 1688 – 30 May 1744).
Pope was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. Famous for his use of the heroic couplet, he is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.

Painted in the intimate 'cabinet' size, often made as a gift, the portrait shows in the background an impressive Classical stone terrace; the sitter prominantly displays a double sealed letter which seems to have been written by him, as on his desk are sheets of writing paper and a pen.

In 1731 Pope wrote his "Epistle to Burlington" to the amateur architect, Richard Boyle, 3rd Earl of Burlington (1674-1753). Burlington was a close friend of Alexander Pope, whose "Epistle to Burlington" acknowledges his great taste in both architecture and landscape design.
Does the Palladian terrace acknowledge Burlington's revival of the architecture of Palladio, and does the envelope symbolise one of Pope's famous epistles? Perhaps.

(An epistle is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter.)

(Image 4 shows a portrait of Pope when younger and painted in 1718 by Richardson).

JONATHAN RICHARDSON (1665–1745) sometimes called "the Elder" to distinguish him from his son) was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, as an apprentice, he learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.

SIZE: 23 x 28.5 inches inc. frame.
PROVENANCE: Somerset Private Collection.

SOLD....Portrait of a Lady of the Orlebar ...

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Oil on canvas in fine quality custom built giltwood frame of early 18th century type.
This is almost certainly a betrothal portrait and is one of Vanderbank’s most attractive female portraits.
It hung in Hinwick House for generations and is most probably a lady of the Orlebar family. Richard Orlebar had built the beautiful mansion of Hinwick House in 1708.

JOHN VANDERBANK (1694-1739) was born in London into an artistic family at the close of the seventeenth century. The son of John Vanderbank Senior, the well known royal tapestry weaver, Vanderbank studied painting first with his father and the portrait painter Jonathan Richardson.
He was one of Godfrey Kneller's earliest pupils at the Academy of Painting from 1711, and in 1720, when Kneller’s academy began to decline, started his own Academy of painting in St. Martin's Lane.

Vanderbank himself was a very able draughtsman, who, in his prime, found his works favoured over those of Hogarth. His painting style followed on from the vigour and grand style of Kneller. His work, however, is characterised by a more vital and nervous drawing than many of his contemporaries, and by a bold pigmentation, particularly in the flesh, where pink tones are painted thinly over the cooler greys of the ground layer to suggest glowing skin – the technique of 'colori cangianti', derived via Rubens from the artists of the seicento. Equally distinctive in Vanderbank’s work is the placing of pure red pigments for the highlights.

It was noted by George Vertue that "only intemperance prevented Vanderbank from being the greatest portraitist of his generation." He died of tuberculosis in Holies Street, Cavendish Square, London, on 23 Dec. 1739, aged about 45, and was buried in Marylebone church.

SIZE: 50 x 40 inches canvas.
59 x 48.5 inches inc. frame.
PROVENANCE: the Orlebars of Hinwick House, Bedfordshire, and by descent.
Image 5 shows Hinwick House.


Portrait of a Young Man in Red ...

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Oil on canvas in a fine carved and giltwood period frame.

A good quality portrait absolutely typical of its time; the sitter wears a fashionably large and expensive wig. (The expression 'bigwig' for a rich or important person comes from this fashion).

HANS HYSING or Huyssing (1678-1752/1753), born at Stockholm in Sweden. He came to England in 1700 as assistant to his fellow Swede Michael Dahl, the portrait-painter, with whom he lived for many years.
He succeeded after Dahl's death to his practice, and adopted his manner. He was patronised by the family of George II, and painted the queen, the three royal princesses, and George III as a boy.
Many of his portraits, including Sir Robert Walpole, the speaker Arthur Onslow, Dr. John Theophilus Desaguliers, James Gibbs (the architect), were engraved in mezzotint by John Faber (1695-1756), and others. George Vertue describes portraits by him of the French engraver Joseph Goupy as 'well painted, much in Mr. Dahl's later manner.'

SIZE: 38 x 33 inches inc. frame.
PROVENANCE: English private collection.


Portrait of a Gentleman c.1780, attributed to ...

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SOLD....Oil on oval canvas in Georgian carved wood frame.

A charming small portrait of a young gentleman holding what is probably a riding crop.
This is Alleyne's favourite size of canvas.

FRANCIS ALLEYNE (working 1774 - 1790).
Alleyne was an itinerant portrait painter visiting country houses mainly in the south-east of England. He specialised in small, oval three-quarter lengths; these are often highly sensitive and of considerable charm.
Alleyne's portraits are often, but not always, signed on the back. This one is not.
He exhibited at the Royal Academy in 1774 and at the Society of Artists in 1790.

SIZE: 17.25 x 14.25 inches framed
15 x 12 inches canvas size.

PROVENANCE: a private South-East England collection.