SOLD...Portrait of a Lady c.1710; English School ...

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Oil on canvas in Victorian giltwood frame.

An English School painting showing strong signs of the influence of Sir Godfrey Kneller, Painter to the Royal Court and the most fashionable artist of his time.
This provincial portrait was probably painted by one of the many itinerant artists of the early 18th century who went from town to village painting the local lesser gentry and prosperous tradespeople.
Clearly this unknown artist was aware of Kneller's style and that the feigned oval was the height of fashion.
Although this artist did not have a great talent, this is a very pleasing slightly naive portrait and redolent of its period.

SIZE: 30 x 25 inches canvas
37.5 x 32.5 inc. frame
PROVENANCE: By descent in a Berkshire family.

SOLD....Portrait of Samuel Tufnell (1682-1758); English School, ...

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An interesting portrait of Samuel Tufnell, an early Georgian country gentleman. This portrait comes with a copy of the book "Samuel Tufnell of Langleys 1682-1758; the Life and Times of an Essex Squire" by Francis W. Steer.

"At Great Waltham in the centre of Essex is the mellow brick mansion of Langleys where, over the dining room fireplace hangs the portrait of a grave-faced boy in a red coat. Two miles away, at Pleshey - a place known to all readers of Shakespeare - is a massive marble monument with the bust of an old man who died full of years and achievements.
The boy and the man are one. The portrait and the bust are both of Samuel Tufnell who bought Langleys and made it into the stately home we see today.
As a landowner, he took no small part in the affairs of the county of his adoption; he served his country too in positions requiring tact and shrewd judgement.
The object of this book is to give a picture of the life and times of a country gentleman during the first half of the eighteenth century, the period of William of Orange, Queen Anne, and the first two Georges."

So begins this illuminating insight into a way of life long gone, which with the portrait, makes us feel we really know the man and his times.

The portrait itself is a good, honest, no-nonsense image of the sitter...he looks directly and frankly at the viewer. The unknown artist was clearly influenced by the work of Joseph Highmore (1692 – 1780), an artist very fashionable with the gentry at this time.
The frame is a good example of 18th century carved giltwood.

SIZE: 36 x 30.5 inches inc. frame.
PROVENANCE: Sir Robert Wilmot Horton.
Yorkshire Private Collection.

Verso, Victorian Gothic script label: "Painting of Samuel Tufnell, esquire, of Langleys, married Elizabeth, daughter of George Cressener. The property of Sir Robert Wilmot-Horton; Artist J. Highmore."

(It has been suggested by a member of the family that this may not be Samuel Tufnell, but his grandson, also called Samuel Tufnell, who married the daughter of Wilmot-Horton).

See image 5 for Langleys as it is today.


Portrait of a Gentleman c.1670; attributed to ...

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Oil on canvas in black and gilt period frame.

The sitter is probably a Johnstone of Pentefract, a Cudworth, or a Hake of Chatteris and Pilsgate.
The portrait is faintly inscribed, upper right, "Ae 23" (in the 23rd year of his age).

This portrait came from Denston Hall in Suffolk (see image 7) 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.

JACOB HUYSMANS (c.1633–1696) was a Flemish portrait painter. He moved to England during the reign of Charles II where he became one of the fashionable painters of the court. His chief portraits are those of Izaak Walton and Catherine of Braganza, Charles II's wife (both displayed in the National Portrait Gallery, London)
He was born into a family of artists in Antwerp. He was the uncle of Jan-Baptiste and Cornelis Huysmans. He learned to paint from Gilles Backereel and Frans Wouters and moved to England, where he later influenced David des Granges (1611–1675). His first works were pastiches of work from Anthony van Dyck. As a Roman Catholic he was favoured by Catharine of Braganza. When Samuel Pepys visited his workshop in Westminster on 26 August 1664, he described him as a 'picture-drawer ... which is said to exceed Lilly (Lely). Huysmans's most important portrait of Catharine of Braganza, Queen Catharine as a Shepherdess (c. 1664; Brit. Royal Col.), was one of the pictures Pepys saw on that occasion. Painting his female subjects as sheperdesses with clothing embellished with embroidery and jewellery were typical of his style.

Huysmans died in Jermyn Street, London, in 1696, and was buried in St. James's Church in Piccadilly.

SIZE: 37.25 x 32 inches inc. frame.
PROVENANCE: By descent to The Manor House, Chatteris and thence to the Dunn Gardner Collection, Denston Hall in 1908 then by descent.
Old handwritten labels verso.

SOLD....Portrait of a Gentleman c.1735; Attributed to ...

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A good quality early Georgian oil on canvas in a fine carved and giltwood period frame.

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, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. 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. His strength was in portraits of men which were sound, solid, good likenesses, and unpretentious.

SIZE: 36.75 x 32 inches inc. frame.
PROVENANCE: English Collection
Label verso: 'Bartholomew Wilkins and Partners, 1 Barrett Street, London'.


SOLD....Portrait of Elizabeth Felton, Lady Hervey, c.1705; ...

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Oil on canvas in period carved and giltwood frame.

The sitter in this portrait has traditionally been identified as “Lady Hervey”. It seems most likely that the sitter is Elizabeth Felton, second wife of John, 1st Earl of Bristol, whom Dahl is known to have painted through an engraving by John Simon (National Portrait Gallery).
The similarities in likeness between the engraving and the present picture are compelling.

ELIZABETH FELTON (1676-1741) was the daughter of Sir Thomas Felton, 4th Bt. and Lady Elizabeth Howard. Her home was Playford Hall, Suffolk (see image 5) and her father was Master of the Household to Queen Anne.
She married John Hervey, 1st Earl of Bristol, son of Sir Thomas Hervey and Isabella May, on 25 July 1695 at Boxted Hall, Suffolk, England.
She held the office of Lady of the Bedchamber to Queen Caroline. As a result of her marriage, Elizabeth Felton became Baroness Hervey of Ickworth on 23 March 1702/3, then Countess of Bristol on 19 October 1714.
Elizabeth was noted for her vivacity and love of pleasure and of play.
Lady Mary Wortley Montagu, a close friend, wrote that "the Countess has come out a new creature... is grown young, blooming, coquette and gallant, and to show she is fully sensible of the errors of her past life, and resolved to make up for time misspent, she has two lovers at a time."
She had 17 children of whom 10 died very young.

She died on 1 May 1741 at St. James's Park, St. James's, London, England. She was buried at Ickworth, Suffolk, England.

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 a fine example of Dahl's sensitive portraiture and is of considerable charm.
It is illustrated on in the entry on Lady Hervey.

SIZE:36.5 x 31.5 inches inc. frame.
*Sir David Erskine Bt. (1792-1841) of Cambo, Fife. Inscribed on the canvas verso.
*With Philip Mould (Historical Portraits), Mayfair, London.
NOTE:The Erskine Baronetcy, of Cambo in the County of Fife, was created in the Baronetage of the United Kingdom on 27 August 1821 for David Erskine. He was the natural grandson of Thomas Erskine, 9th Earl of Kellie.

SOLD....Portrait of an Officer 1917, by Leon ...

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Oil on canvas in gilt frame. Signed and dated 'Leon Sprinck 1917', lower right.

A good and insightful portrait of a British army captain painted during World War One; in 1917 the war had a year to run.
The sitter wears the red hatband and tabs of an officer of the General Staff but, to judge by his decorations he had seen action, as amongst their number is the D.S.O.
(The Distinguished Service Order was awarded for meritorious or distinguished service by officers of the armed forces during wartime, usually in actual combat. It is typically awarded to officers ranked Major (or its equivalent) or higher, but the honour has sometimes been awarded to especially valorous junior officers. 8,981 DSOs were awarded during the First World War, each award being announced in the London Gazette.)

The identity of the young officer is unknown as is whether he survived the Great War.

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: 39 x 34 inches inc. frame.
PROVENANCE: Collection of a retired army officer, Westmoreland country house.
Verso; old storage label " A & N.C.S.L. No.25. Mrs. Wickham April 1972".

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 a Lady c.1750, by James ...

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Oil on canvas in a good 18th century carved and giltwood frame.

A fine portrait typical of its period and the artist's style painted with a great sensitivity to the character of the sitter.

JAMES CRANKE (1707 – 1780) was born at Little Urswick, near Barrow, and lived there for most of his life. He started as a plasterer and trained himself as an artist to a very high level.
He attended St. Martin's Lane Academy and in 1744 he married a well-known heiress and opened his own studio in Bloomsbury Square.
Vertue, in 1746, said he had seen a portrait of Cranke's "painted strongly...and at least as well as anyone living", by then Cranke was charging ten guineas for half lengths. His work was very similar to that of the noted artist Thomas Hudson and "quite as good as Hudson". (Dictionary of 18th c Painters by Ellis Waterhouse).
Cranke's style, especially in pose and palette, is also very reminiscent of Allan Ramsay.
In 1755 he and his family moved to Urswick where he built a large new house and established a very successful portrait practice painting local landowners and their families.

Cranke taught the famous artist George Romney (1734–1802) how to paint when he was a small boy. Romney was born at Beckside, Dalton-in-Furness, which was close to the home of the Cranke family. James Cranke taught one of his sons, James Cranke Jr (1746–1826), to follow him as a portrait painter.

The success of Cranke and his son as portrait painters helped their family to become important local landowners.
James Cranke is also notable as the father of the mathematician John Cranke.

SIZE: 37 x 32 inches inc. frame.
Collection of Professor Alastair Smart and then by descent.

(Peter Alastair Marshall Smart, art historian, born 30 April 1922, Head of Fine Art Department Nottingham University 1956-82, Professor of Fine Art 1963-82 (Emeritus 1982-92), married Marita Lawlor-Johnson (one son, one daughter), died Edinburgh 21 December 1992.
The central feature of Alastair Smart's career and work as an art historian was his involvement with the art of the great 18th-century Scottish portrait painter Allan Ramsay and who wrote the definitive works on Ramsay; one can speculate that he bought this portrait because of its similarity to a Ramsay of that period.)

Portrait of Queen Mary I, Manner of ...

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Oil on oak panel in an elaborate carved and giltwood frame.
Created c.1800 this is a superb portrait convincingly painted in the Tudor manner.
Verso, an old handwritten label "Anne Boleyn, (after) Holbein".
In fact this is a portrait of Mary Tudor, later Queen Mary I, as a young woman.
Mary was noted for her fierce Catholic faith, and in this portrait can be clearly seen symbols of that faith; a bible, a jewelled cross and a jewel showing St. Veronica holding the cloth with the image of Christ upon it.
The unknown artist of this lovely painting has been directly influenced by Guillim Scrot's portrait of the young Elizabeth I in the Royal Collection at Windsor castle. Also the placement and composition of the hands in the portrait of Catherine Parr in the Melton Constable portrait (formerly mistakenly called Lady Jane Grey) seem to have been utilised in reverse.

MARY TUDOR was the first Queen Regnant (that is, a queen reigning in her own right rather than a queen through marriage to a king). Courageous and stubborn, her character was moulded by her early years.

In his political and marital manoeuvrings her father Henry VIII instituted an Act of Parliament in 1533 which declared her illegitimate and removed her from the succession to the throne (she was reinstated in 1544, but her half-brother Edward removed her from the succession once more shortly before his death), whilst she was pressurised to give up the Mass and acknowledge the English Protestant Church.

On her succession Mary restored papal supremacy in England, abandoned the title of Supreme Head of the Church, reintroduced Roman Catholic bishops and began the slow reintroduction of monastic orders.

Mary also revived the old heresy laws to secure the religious conversion of the country; heresy was regarded as a religious and civil offence amounting to treason.
As a result, around 300 Protestant heretics were burnt in three years.

Apart from making Mary deeply unpopular, such treatment demonstrated that people were prepared to die for the Protestant settlement established in Henry's reign.

The progress of Mary's conversion of the country was also limited by the vested interests of the aristocracy and gentry who had bought the monastic lands sold off after the Dissolution of the Monasteries, and who refused to return these possessions voluntarily as Mary invited them to do.

Aged 37 at her accession, Mary wished to marry and have children, thus leaving a Catholic heir to consolidate her religious reforms, and removing her half-sister Elizabeth (a focus for Protestant opposition) from direct succession.

Mary's decision to marry Philip, King of Spain in 1554 was very unpopular.
The marriage was childless, Philip spent most of it on the continent, England obtained no share in the Spanish monopolies in New World trade and the alliance with Spain dragged England into a war with France.
Popular discontent grew when Calais, the last vestige of England's possessions in France dating from William the Conqueror's time, was captured by the French in 1558.

Dogged by ill health, Mary died later that year, possibly from cancer, leaving the crown to her half-sister Elizabeth.

GUILLIM SCROTS (Guillim Stretes or William Scrots) (active 1537-1553).
Nothing is known of his early life, training or parentage, but in 1537 William Scrots was appointed painter to Mary of Hungary, Regent of the Netherlands. In 1545, he went to England to take up a position as a painter at the court of Henry VIII, where he was the highest paid artist of the time.

SIZE: Panel 25.25 x 19 inches.
Frame 44.25 x 28.5 inches.
PROVENANCE:From the old collection of an ancient noble Scottish family.

SOLD.....Portrait of Sir Richard Weston, ...

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Oil on canvas in fine 18th c. carved and giltwood frame.
A very sensitive and perceptive portrait beautifully executed in every way.

SIR RICHARD WESTON (1591-1652), eldest son of Sir Richard Weston of Sutton Place, Surrey, succeeded to the family estates on the death of his father and was knighted at Guildford in 1622.
He was a Royalist and a Catholic and his estates were sequestered by Parliament during the Civil War.

During his exile abroad, when he stayed at Ghent, Bruges and Antwerp, he studied agricultural practices of the Low Countries and wrote a discourse on husbandry. Subsequently he introduced to Surrey a scheme whereby rivers and canals became navigable by means of locks and he attempted to make the Wey navigable from Guildford to its junction with the Thames at Weybridge.

The scheme was finally completed in 1653 after his death. He also introduced agricultural improvements, notably the cultivation of rich crops of hay from irrigated meadows and a new scheme of rotation founded on the cultivation of clover, flax and turnips.

He married Grace, daughter of John Harper of Cheshunt, who died in February 1669. They had seven sons and two daughters.

His ancestor, Francis Weston, was implicated in the fall of Anne Boleyn, convicted of adultery with the Queen and executed in 1536.

Richard's father, Sir Henry, entertained Queen Elizabeth twice at Sutton Place; the mansion was built by Sir Richard Weston in the 1520s and 30s probably by the Hampton Court builders.
It is reputed that King Henry VIII met Anne Boleyn at Sutton and the house remained in Weston ownership until the 19th century.
The late John Paul Getty lived and died in this renaissance house; prior to his ownership the press baron Lord Northcliffe lived there.

In 1986 Sutton Place was purchased by the American billionaire Frederich Koch as a home for his art collection; the house and estate are now for sale.

CORNELIUS DE NEVE, also known as Leneve, (c.1594-1678, painting from c. 1612). Born in Antwerp, he was a portrait painter of Netherlands stock living in England. It is thought he trained in Holland under Miereveld, but working in London by 1627. His later style has some connection with Thomas de Critz, his stepfather.
The portrait of Sir Richard is typical of his style and quality; he emphasises the sitter by placing him before a neutral background and also illuminates the sitter's face to give great depth to the work.
He also revelled in painting detail; here the sitter's features and costume are exceptionally well observed, especially the subtle detailing to the silk doublet.

SIZE: 37.75 x 32.5 inches inc. frame

PROVENANCE: Sutton Place, Surrey.


SOLD....Portrait of a Noblewoman c.1600-1620: Anglo-Dutch School ...

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Oil on canvas in reproduction 'cassetta' frame.

This extremely high quality portrait depicts an aristocratic lady of mature years, a coat of arms to her right.

The lady stands directly facing the viewer, her expression and gaze confident; this 'full frontal' pose was, at this time, usually reserved for men of power and thus makes a considerable statement as to the prestige and status of the sitter.
Her clothing, with the hugely expensive 'reticella' lace, elaborate embroidery and princely display of jewels, demonstrates vast wealth.

This portrait is a symbol of power for an independently minded woman - yet the image is not a mere icon. There is humour and good nature to the well as a strong sense of an autocratic will.

Although the names of sitter and artist are as yet unknown this is a fine portrait of a noblewoman in the mould of Elizabeth l and Bess of Hardwick.. a strong, powerful woman succeeding in a man's world.

SIZE: 38 x 32.75 inches inc. frame.

PROVENANCE: Private Collection, Edinburgh for the last 30 years.
(Bought by the previous owners in Surrey in 1977)

SOLD...Double portrait of King Charles I and ...

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Oil on canvas in period black and gilt frame.
The sitters are Charles Stuart, (son of James I and Anne of Denmark) and his wife Henrietta Maria, (sister of Louis XIII of France and daughter of Henri IV and Marie de' Medici).

A good 18th-century copy after the famous 17th c. original attributed to the School of Van Dyck in the Pitti Palace, Florence.

(See M. Chiarini & S. Padovani, 'La Galleria Palatina e gli Appartamenti Reali di Palazzo Pitti: Catalogo dei Dipinti', Florence 2003, p. 162, cat. no. 256, reproduced).

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE: 29.5 x 35.5 inches inc. frame.
PROVENANCE: Italian Private Collection.