SOLD...Portrait of Charles Le Brun c.1670; Circle ...

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Oil on canvas in carved giltwood frame.

CHARLES LE BRUN (1619-1691). French painter and art theorist, the dominant artist of Louis XIV's reign. After training with Vouet he went to Rome in 1642 and worked under Poussin, becoming a convert to the latter's theories of art. He returned to Paris in 1646. From 1661 he became established in the employ of Louis XIV, in 1662 he was raised to the nobility and named Premier Paintre du Roi, and in 1663 he was made director of the reorganized Academie, which he turned into a channel for imposing a codified system of orthodoxy in matters of art. His lectures came to be accepted as providing the official standards of artistic correctness.
Despite the Classicism of his theories, Lebrun's own talents lay rather in the direction of flamboyant and grandiose decorative effects. Among the most outstanding of his works for the king were the Galerie d'Apollon at the Louvre (1663), and the famous Galerie des Glaces (1679-84) and the Great Staircase (1671-78, destroyed in 1752) at Versailles. His importance in the history of French art is twofold: his contributions to the magnificence of the Grand Manner of Louis XIV and his influence in laying the basis of academicism. Many of the leading French artists of the next generation trained in his studio. Artists over the whole of Europe accepted this style as the paragon of academic and propagandistic art. Lebrun was a fine portraitist and an extremely prolific draughtsman.

JOHN RILEY (1646-1691) began practising painting at a young age, which probably meant he was independently wealthy. He became a fashionable society portrait painter. At the height of his success, in the 1680s, Riley charged £40 for a full-length portrait, a considerable amount of money at this time. In 1689, together with Godfrey Kneller, he was appointed Principal Painter to King William III and Queen Mary.

SIZE: 35 x 30.25 inches inc. frame
PROVENANCE: Collection of Viscount Halifax,
given by him to Madame R. de l' Hopital.
Bought by Dr. William Lindsay Gordon at Christie's, 26 January 1968, lot 73 as by Kneller.
Dr. Gordon was a true conoisseur of the decorative arts; he travelled England collecting antiques with a British heritage especially of the Stuart period.


SOLD....Portrait of Sir Maximilian Norris; Manner of ...

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SIR MAXIMILIAN NORRIS (also known as Norreys) was a relative of Henry Norreys, Keeper of the King's Privy Purse, who was executed in 1536 for alleged adultery with Queen Anne Boleyn.

Maximilian was one of five brothers who campaigned in Ireland and on the Continent against the Spanish; he was killed fighting in Brittany in 1593.
The present representatives of the Norris family are the Berties, Earls of Abingdon.

This painting dates from c.1800 (the frame dating from that period) and is a copy of a lost 16th century original. It is typical of much Elizabethan portraiture in it's iconic feeling, use of symbolism and the fashionable poetic melancholic appearance of the sitter, who wears the 'sable harness' or black armour also in fashion at that time.

Upper right the copyist has misspelt the knight's name as 'Maximisian' and upper left has incorrectly copied the Latin inscription as 'His Aut Nullis', which should read 'Hic Aut Nullus'. One can only presume the inscriptions on the original were indistinct.
Beneath the sitter's name can faintly be discerned an overpainted inscription.

The symbolism of the hand, sword and armillary sphere is interesting.
The use of the armillary would suggest that the sitter was linked to the Court of Elizabeth l; it was much used there, especially by the Queen, as a symbol of constancy and (specifically) Protestant religious fidelity.
The sword and hand represent military valour in pursuit of these virtues and the Latin translates as 'Without this, nothing'.

ROBERT PEAKE the Elder (c. 1551 – 1619) was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I.
Peake was the only English-born painter of a group of four artists whose workshops were closely connected. The others were De Critz, Marcus Gheeraerts the Younger, and the miniature painter Isaac Oliver. Between 1590 and about 1625, they specialised in slightly 'stiff feeling' portraits that are unique to England at this time. It is not always possible to attribute authorship between Peake, De Critz, Gheeraerts and their assistants with certainty.

SIZE: 45 x 41 inches inc frame.
PROVENANCE: Collection of a Lady of Title.

SOLD....Portait of Bettine Goldberg 1955, by Wolf ...

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Oil on canvas in original carved frame; signed and dated lower left "W. CRAIG-HAINISCH/1955".

A superb portrait, utterly redolent of its period, the sitter, in an evening gown, elegantly holds a red rose...symbol of beauty and love.
This glamorous image of the society beauty Bettine, married to Geoffrey Goldberg, was the second time Hainisch had painted her; the first time, in 1939, was as an entrancing young woman in a daring blue evening gown.

WOLF CRAIG HAINISCH was a famous society artist of the 30s, 50s and 60s. A German, he lived and worked in London; he had originally come to England as a prisoner of war during the First World War when he was confined on the Isle of Wight.

Amongst others Hainisch painted the King of Jordan, the Queen Mother of Jordan and Victoria Fitz-Gerald (nee Villiers) wife of the 28th Knight of Glin.

SIZE: canvas 36 x 32 inches.
framed 43.25 x 39 inches.
PROVENANCE: by direct descent from the sitter.

SOLD...Portrait of a Gentleman c.1660; Circle of ...

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

An elegant young man wearing the 'undress' clothing fashionable at the time. He has a diamond at his throat and other large diamonds and pearls across his chest. (Until the 19th c. all diamonds were flat or table cut and thus appear as black gems in portraiture).
The sitter looks out rather wistfully and his right hand goes towards his heart; there is clearly an element of romance in the way he has chosen to be depicted.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE:35 x 28.5 inches inc. frame.
PROVENANCE: Suffolk Private Collection.

SOLD....Portrait of Eleanor Preston c.1700; Studio or ...

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Oil on canvas in carved and giltwood frame.

This enchanting portrait is decorated with Maubert's trademark flowers and distinctive flowing drapery. The sitter's fine complexion, her delicate wrists and elegantly posed hands are expertly portrayed to accentuate her elegance.
She holds flowers in her right hand, jasmine for amiability of character and the red rose for love.

JAMES MAUBERT (1666-1746)was much praised by contemporaries not only for his ''skilfull, well dispos''d & natural'' reproductions of ''fruits, flowers and draperies'' but for his ability to ''Paint from the life''(1).
The son of French Huguenots, Maubert is said to have been born in Dublin. Although he studied under Gaspar Smitz, his stylistic traits demonstrate the influence of Kneller and Dahl. During his life the artist produced an impressive series of paintings of poets, each ''mightily'' adorned ''with flowers & Hony suckles ''(2).
He is best known for his portraits of women and children.

(1) The Walpole Society, ''Vertue Notebooks'', vol. III pg.28.
(2) Ibid. vol. IV pg. 120.

SIZE: canvas 39 x 32.5 inches.
PROVENANCE: English Private Collection.
Verso: 1920's Pickford's storage label for Atkinson.
Label : 'E. Preston'

Portrait of Catherine, Lady Copley c.1680; Circle ...

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Oil on canvas in carved and giltwood 17th c. frame.
This 'portrait de cabinet', probably painted at the time of Catherine's marriage, 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.
(A 'portrait de cabinet' was a painting for a small intimate room known as a cabinet)

CATHERINE PURCELL (c.1657-1699) was the daughter of John Purcell; she married Sir Godfrey Copley, 2nd Bt., son of Sir Godfrey Copley, 1st Bt. and Eleanor Walmesley in 1681.
They had a daughter, also called Catherine.
After his wife's death in 1699 Copley married Gertrude Carew in 1700; he died in 1709 without surviving male issue.
He had succeeded to the title of 2nd Baronet Copley of Sprotborough, Yorkshire in 1677/8 and built a new mansion house at Sprotborough. He was an M.P. and a Fellow of the Royal Society and founder of the Copley Medal. On his death his baronetcy became extinct.

The great mansion of Sprotborough Hall , near Doncaster (see image 7) was demolished in 1923. The family had lost three sons in the First World War...death duties were crippling and the industrial sprawl of Doncaster grew closer.

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 slight French influence, his paintings exquisitely finished and influencing Dutch portraiture into the 18th century.

SIZE: 19.75 x 17.25 inches inc. frame.
*By descent in the family to
*Capt. Rt. Hon. Robert Godfrey Wolesley Bewicke-Copley, 5th Baron Cromwell, M.C., D.S.O, of Sprotborough Hall, Yorkshire.
*Christie's, London, 20 November 1925, lot 133.
*English Private Collection


SOLD....Portrait of a Young Midshipman c.1790; Circle ...

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Oil on canvas in Georgian giltwood frame.

A charming small scale portrait of a young midshipman in the Royal Navy at the end of the 18th century, probably painted for the boy's parents before he joined his ship.
England was engaged in a long and bloody war with France and the navy was our first line of defence.
The life of a midshipman on a man-of-war could be very short indeed. As an apprentice officer the youth was expected to be able to climb the riggiing to act as a lookout, learn navigation and seamanship, command one of the ship's boats and in action he would command a group of the ship's guns, or take charge of signals or act as a messenger for the captain.
A lot of responsibility and risk at a very young age, but if he lived and rose through merit he could achieve high rank.
The good-looking sitter, sensitively painted, looks out at the viewer, his pensive gaze encouraging thoughts of his extreme youth and vulnerability on active service at sea, but the boy also projects an air of quiet determination and confidence.

LEWIS VASLET (VASLETTE) 1742-1808. Born in York, he became a lieutenant in the 25th Regiment of Foot. Leaving the army, he travelled to Italy. He exhibited ten times at the Royal Academy between 1770 and 1782. He worked from York in 1770, 1771 and 1778, Bath 1787, Norwich 1793 and Oxford1780, 1790 and 1796 where he advertised himself as an 'artist in miniature and likenesses' working in oils and pastels. He married a lady of means. Buried at St. Michael's, Bath in 1808.
"His style is usually accomplished, charmingly naive with pleasantly subdued colouring" (The Dictionary of Portrait Painters in Britain).

SIZE: 11 x 9 inches inc. frame.
PROVENANCE: Somerset Private Collection

SOLD....Portrait of a Young Boy with a ...

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Oil on canvas in period gilt frame.

A charming image of a young boy about to bowl his hoop along the ground.
This excellent portrait has the simple sincerity for which Gordon was noted.

SIR JOHN WATSON GORDON, RA. PRSA. (1788 -1864) was a Scottish portrait painter and a president of the Royal Scottish Academy.
He was born John Watson in Edinburgh, the eldest son of Captain Watson, R.N., a cadet of the family of Watson of Overmains, in the county of Berwick. He showed a natural aptitude for art, and his father was persuaded to allow him to adopt it as his profession. Captain Watson was himself a skilful draughtsman, and his brother George Watson, afterwards president of the Royal Scottish Academy, was a highly-respected portrait painter, second only to Sir Henry Raeburn, who was also a friend of the family.

In 1808 John exhibited a picture "The Lay of the Last Minstrel" at the Lyceum in Nicolson Street, Edinburgh - the first public exhibition of paintings in that city - and continued for some years to exhibit fancy subjects; but, although freely and sweetly painted, they were altogether without the force and character which stamped his portrait pictures as the works of a master. After the death of Sir Henry Raeburn in 1823, he succeeded to much of his practice. He assumed in 1826 the name of Gordon to distinguish himself from his two cousins and uncle who were also painting in Edinburgh.

One of the earliest of his famous sitters was Sir Walter Scott, who sat for a first portrait in 1820.
During the last twenty years of his life he painted many distinguished Englishmen who came to Edinburgh to sit to him; and it is significant that David Cox, the landscape painter, on being presented with his portrait, subscribed for by many friends, chose to go to Edinburgh to have it executed by Watson Gordon, although he neither knew the painter personally nor had ever before visited the country.

Gordon was one of the earlier members of the Royal Scottish Academy, and was elected its president in 1850; he was at the same time appointed Limner for Scotland to the Queen, and received the honour of knighthood. Since 1841 he had been an associate of the Royal Academy, and in 1851 he was elected a Royal Academician.

SIZE: 36 x 31 inches inc. frame.
PROVENANCE: Private Collection, South of England.

SOLD....Portrait of a Young Lady c.1910; by ...

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Oil on canvas in replica cassetta frame.

A beautiful portrait of an attractive young woman; lost in thought, her gaze passes the viewer.
The image has a great sense of calm and peace.
McEvoy's treatment of the face is sensitive and insightful, painted with great care, whereas in the drapery he indulges in a painterly delight in manipulating the medium...the lace is depicted in a free and almost impressionistic manner.

Ambrose McEvoy was one of the most successful British portraitists of the early twentieth century
and one of the most adventurous British artists of his time. He frequently experimented with composition and technique, and was one of the first artists to focus on mixing artificial and natural light in his portraits. As a result, the sitter here is illuminated with a gentle, golden glow.

This portrait is a fine example of McEvoy’s noted ability to combine classical painting with modernism.

AMBROSE MCEVOY (1878-1927) was born in Crudwell, Wiltshire. Encouraged by Whistler, who spotted his talent early on, McEvoy enrolled at the Slade School of Fine Art in London when he was fifteen. At the Slade he was part of the group around Augustus John and William Orpen. McEvoy had the reputation for a fine technical skill in oils, learnt from study with Whistler. He later worked with Walter Sickert in Dieppe. While at the Slade he was fellow pupil of Gwen John, with whom he had an unhappy affair.

From 1900 he exhibited at the New English Art Club (NEAC), and became a member in 1902. In the same year he married the painter Mary Edwards (1870–1941). In 1907 he held a one-person exhibition at the Carfax Gallery. In 1911 he was a founder-member of the National Portrait Society, and in 1913 he became a member of the International Society.

At NEAC he exhibited landscapes and interiors. After about 1915 he established a reputation as a portrait painter of fashionable society beauties.

During World War I he was attached to the Royal Naval Division from 1916–18, and painted a number of distinguished sailors and soldiers, now in the Imperial War Museum and the National Maritime Museum.

McEvoy visited New York and exhibited there at the Duveen Galleries in 1920. In 1924 he was made an Associate of the Royal Academy and of the Royal Society of Portrait Painters, and of the Royal Watercolour Society in 1926. He also exhibited at the Grosvenor, Grafton and Leicester Galleries.

McEvoy died in Pimlico, London, on 4 January 1927. In 1928 he was represented in the Royal Academy Late Members Exhibition. In 1933 he was memorialized together with Orpen and Charles Ricketts in an exhibition in Manchester.

SOLD....Portrait of Matilda Marryat 1843; by Richard ...

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Oil on board in period gilt frame. Signed and inscribed 'Rome' lower left.

This beautiful portrait of the Hon. Matilda Marryat and her pet spaniel was painted in Rome in 1843 and is a fine example of Buckner's work, being not only an image of a lovely young woman but also a charming portrait of her spaniel and the items on the table are a still life.

Buckner's great talent is demonstrated by his use of, to use a photographic term, 'soft focus'. Matilda's face is the most 'in focus' part of the painting, the items on the table and the spaniel less so, and the background is merely suggested in an almost abstract way...the wall, column and view from the balcony are depicted with a painterly delight in the use of paint in a very free way.
All this causes us to focus on the sitter's face and only then to become aware of, and enjoy, the rest of the painting.
"His best work has a breathtaking quality" ('The Dictionary of Portrait Painters in Britain' by Brian Stewart and Mervyn Cutten.)

THE HON. MATILDA SOMERSET, (born in 1815, died in 1890) , was the daughter of General Lord Robert Edward Henry Somerset and the Hon. Louisa Augusta Courtenay, the daughter of William Courtenay, 2nd Viscount Courtenay of Powderham Castle and Frances Clack.
Lord Somerset was born on 19 December 1776 at Caldicot Castle, Monmouthshire, Wales. He was the son of Henry Somerset, 5th Duke of Beaufort and Elizabeth Boscawen.

Matilda married Horace Marryat, the famous travel writer, and brother of Captain Frederick Marryat, the naval officer, novelist, and a contemporary and acquaintance of Charles Dickens, noted today as an early pioneer of the sea story.

RICHARD BUCKNER (1812 - 1883) was an English painter. He first worked from a studio at his family home in Rumboldswhyke, near Chichester.
After a short spell in the army, he went to Rome where he studied under Giovanni Battista Canevari (1789-1876). He set up a studio there and quickly earned a reputation not only for his elegant portraits (e.g. Lady Charlotte Guest and her Daughter, priv. col., see Stewart and Cutten, p. 36) but also for his delicate watercolours of Italian peasants.
His work attracted the attention of important patrons including Queen Victoria and her husband Albert of Saxe-Coburg-Gotha, Prince Consort; Edward, Prince of Wales; Adelaide, Duchess of Saxe-Meiningen ( fl 1860s), and William Alexander, 11th Duke of Hamilton.
Maas considers him one of the most cultivated of Victorian portrait painters "He was one of the few portrait painters of the 19th century whose work could hold its own when hung in country houses alongside the work of Reynolds and Gainsborough".

SIZE: 34.5 x 29 inches inc. frame.
PROVENANCE: The Collection of a Titled Lady, East Sussex.
VERSO: Old handwritten labels:-
"Matilda Marryat, daughter of Ld. ** Somerset. d.1890 aged 85."
"Mrs. Horace Marryat painted by R. Buckner at Rome AD 1843."

SOLD...Portrait of Nell Gwyn c.1675; Studio of ...

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Oil on canvas in fine carved and giltwood 'Lely' frame.
SIR PETER LELY (1618 - 1680) was the dominant Court and Society portraitist of the reign of Charles ll. He was made Principal Painter to the King in 1661, and knighted in 1680.

Many portraits of unknown Restoration ladies are said to be Nell Gwyn, on no grounds at all. It is rare for one to be unquestionably of the actress, as this one is. This studio work is identical to the prime version painted by Lely and formerly at Parham Park, Collection of the Hon. Clive Gibson, and sold at Sotheby's 15 June 2000 for £57,500.

Portraits of prominent subjects of their day, especially Royal and Court sitters, were in much demand after the Restoration. Lely’s many talented studio assistants, among them Greenhill and Lankrink, were regularly occupied in making highly accomplished copies under Lely's supervision.

Nell looks confidentally at the viewer, her decollatage very revealing, as was the custom for portraits of mistresses. To her right, in an urn, grows Spanish Jasmine which signifies sensuality, and was famous for its exotic heady perfume which is especially intoxicating at night....all very appropriate.

NELL GWYN (or Gwynn or Gwynne) was born Eleanor Gwyn (2 Feb. 1650 - 14 Nov. 1687). Charles II's famous mistress ('pretty witty Nell' in Pepys's words) began life as an orange seller in the Theatre Royal, where she was befriended by Charles Hart and John Lacy, the players. Hart assisted her theatrical training and in 1665 she appeared for the first time on the stage as Cydraria in Dryden's 'Indian Emperor'
Pepys greatly admired her, and she continued in numerous roles by Dryden and others until she quitted the stage in 1682. Dryden wrote parts especially for her, taking advantage in particular of her gift for delivering prologues and epilogues. After she had recited an epilogue in a hat 'of the circumference of a large coach-wheel', Charles II approached her and took her back in his coach to supper. Much of her popularity as the King's mistress lay in the unpopularity of the Catholic Duchess of Portsmouth, her main rival. It is said that when mobbed in Oxford by a crowd who mistook her for her rival, Nell leant out of her coach and said: 'Pray good people be civil; I am the Protestant whore'. Madame de Sevigne noted the rivalry and said of Nell Gwyn: 'She is young, indiscreet, confident, wild and of an agreeable humour: she sings, she dances, she acts her part with a good grace.' She had two sons by the King and the eldest, Charles, was created Duke of St Albans. The King assigned Burford House in Windsor to her.
She died aged 37 and is buried in the Church of St. Martin's in the Fields, at the corner of Trafalgar Square.
SIZE: 49.5 x 39.5 inches canvas size; 58 x 47.75 inches inc. frame.
CONDITION: very good; old relining; moderate craquleure; small areas of old retouching. The superb frame is a hand-made copy of a 'Lely' frame of the late 17th c., custom made, covered in 22 ct. gold leaf and then 'antiqued'. PROVENANCE: By descent in Ireland since at least c.1800 to the previous owner

Portrait of a Lady c.1720; Attributed to ...

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Oil on canvas in giltwood frame.

Painted in the reign of George I, the sitter, wearing a striking red mantle, looks out from an unusual feigned stone diamond; the common practice was for this to be an oval. She has an air of quiet confidence.

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.

SIZE: 37 x 31.5 inches inc. frame.
PROVENANCE: Private Collection, Wiltshire.
Handwritten; 'Capt. Francis'
Another old label, handwritten in copperplate script 'No.4'