Portrait of a French Nobleman c.1700; Studio ...

Item Ref

Oil on canvas in early 19th c. giltwood frame.

The aristocratic sitter holds a typical Baroque swagger pose, his right hand on a pile of books of which one is 'Regie de 1700' (Government of 1700).

HYACINTHE RIGAUD, (1659 - 1743), was one of the most important portrait painters during the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him.He and his friendly rival Nicolas de Largillière were their era's leading portraitists, but Rigaud painted aristocrats while Largillière concentrated on the wealthy bourgeoisie. Their differing approaches reflect their clients' status. Rigaud's sitters are shown in elegant stances of natural superiority; they are members of society whose costumes and gestures describe their function within the state. He combined Anthony van Dyck's prototypes and opulent style with Philippe de Champaigne's stiff, linear formality. In his unofficial portraits, however, Rigaud's interest in realism and character displays the influence of Rembrandt van Rijn. Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.

Rigaud studied in Montpellier and Lyon before arriving in Paris in 1681. He won the Prix de Rome in 1682 but on Charles Le Brun's advice did not go to Italy. In 1688 Rigaud's flattering, graceful portrait of King Louis XIV's brother brought him favour at court. His subjects included dignitaries at Versailles, visiting royalty, prominent artists, and church and military leaders. His studio employed both part-time specialists and full-time assistants like Jean-Marc Nattier. They often copied his portraits, which Rigaud touched up as necessary. Elected to the Académie Royale as a history painter in 1700, Rigaud later taught there.
In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Rigaud died in Paris in 1743 at the age of 84.

SIZE: canvas 45 x 35.5 inches.
Framed 53 x 43.75 inches.
*The Bryan Hall Collection, Banningham Old Rectory, Norfolk (see image 6).(Mr. Hall's collection, built up over 60 years, was acquired mainly from country house sales of the great Norfolk families during the post war years). His collection was dispersed in 2004.
* Private Collection.

Portrait of Mary, wife of George Perrott, ...

Item Ref

Oil on unlined canvas in carved period frame.

It is most unusual for a painting of this age to remain unlined; as a result the canvas has lost a small amount of tension, but, interestingly, as it has not been covered by a lining, the sitter's name can be seen painted on the verso.

An inscription to the sitter's right reads: "MARY wife of GEO. PERROTT Esqr / Baron of the Exchequer / and dau. of Wm. BOWER Esqr / of Bridlington, Yorkshire. / ob:1784."

GEORGE PERROTT (1710-1780), Baron of the Exchequer, born in 1710, belonged to the Yorkshire branch of the Perrotts of Pembrokeshire. He was the second son of Thomas Perrott, Prebendary of Ripon and Rector of Welbury in the North Riding of Yorkshire, and of St. Martin-in-Micklegate in the city of York by his wife Anastasia, daughter of the Rev. George Plaxton, Rector of Barwick- in-Elmet in the West Riding of Yorkshire.
After receiving his education at Westminster School, he was admitted a student of the Inner Temple in November 1728, and was called to the bar in 1732.

He married, in 1742, MARY, only daughter of JOHN BOWER of Bridlington Quay, Yorkshire and widow of Peter Whitton, Lord Mayor of York in 1728. Mary was born in 1702 in Bridlington Quay.

In May 1757 Perrott was elected a bencher of his inn, and in 1759 was made a King's Counsel.
On 24 Jan. 1763 he was called to the degree of Serjeant, and appointed a baron of the exchequer in the place of Sir Henry Gould the younger.
He was seized with a fit of palsy at Maidstone during the Lent assizes in 1775, and shortly afterwards retired from the bench with a pension of £1,200 a year.
Having purchased the manor of Fladbury and other considerable estates in Worcestershire he retired to Perrott House, Pershore, where he died on 28 Jan. 1780, in the seventieth year of his age. A monument was erected to his memory in the parish church at Laleham, Middlesex, in pursuance of directions contained in his widow's will.
His widow Mary died on 7 March 1784, aged 82.

IMAGES 7 and 8 show Perrott House in Pershore, Worcs.

Biographical information from:-
*Stephen L and S Lee, eds. 1917. The Dictionary of National Biography from the Earliest Times to 1900. Volume XV Owens-Pockrich. Oxford University Press, Oxford. P 905.
* the website 'Perrotts of Yorkshire'.

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.
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: 38 x 32 inches inc. frame.
PROVENANCE:Private Collection.

SOLD....Portrait of a Member of the Stafford ...

Item Ref

A good quality oil on panel with the coat of arms of the Stafford family upper left, and the inscription " T S Aet Suae 25 Ano 1613" (T S at his age of 25 in the year 1613). Now in a 19th century frame.

Verso an old painted inscription "William Stafford Obit 1625" (Died 1625), however, the initials beneath the armorial are T S, not W S. A possibility may be Thomas Stafford of Devon, gent., who graduated B.A. from Exeter College, Oxford on 12 November 1613.

Regardless of the precise identity of the sitter, this is a fine example of Jacobean portraiture. The sitter is sensitively depicted, with his face revealing an alert intelligence. The costly silk clothing, fine ruff and exquisitely worked belt buckle are all well painted and make the point of the sitter's wealth.

SIZE: 29.5 x 23.5 inches inc. frame.
PROVENANCE: English Private Collection.


SOLD...Charles l; after Van Dyck

Item Ref

Oil on canvas, a good 19th c. copy of the famous triple portrait by Van Dyck.

The original, painted in 1635, was sent to Rome in order that the noted sculptor Bernini had an accurate image from which to sculpt a marble bust of the monarch.
The painting now belongs to Her Majesty Queen Elizabeth ll. The bust was destroyed in the fire which severely damaged Whitehall Palace in 1698.

Size: 40 x 50.5 inches inc 19th c oak frame.

Provenance: a Somerset Private Collection.



SOLD....Portrait of a Gentleman of the Popham ...

Item Ref

Oil on canvas in period carved and part giltwood frame.

The sitter, radiating an air of well fed confidence, wears a large and very expensive wig. The expression 'bigwig' for a rich or important person comes from this fashion.

The first Littlecote House in Wiltshire was built during the 13th century. A medieval mansion, it was inhabited by the de Calstone family from around 1290. When William Darrell married Elizabeth de Calstone in 1415, he inherited the house. His family went on to build the Tudor mansion in the mid-16th century. Henry VIII courted Jane Seymour at the house; her grandmother was Elizabeth Darrell.
Sir John Popham bought the reversion of Littlecote, and succeeded to it in 1589; he built the present Elizabethan brick mansion, which was completed in 1592.
Elizabeth I, James I, Charles II, and William of Orange stayed there, William on his march from Torbay to London in the Glorious Revolution. Popham's descendants, the Pophams and (from 1762) the Leyborne Pophams owned the house until the 1920s. The Leyborne Pophams refurbished much of the house in 1810. They retained it until 1929, when the house was purchased by Sir Ernest Wills, 3rd Baronet.
In 1985 the house was sold to Peter de Savary and the house contents, including this portrait of a Popham gentleman, were sold by Sotheby's at a three day sale.

EDWARD BYNG (c.1676-1753) was a portrait and drapery painter. He was born in Potterne, Wiltshire and died there in 1753. He was assistant and drapery painter to Sir Godfrey Kneller, Court painter, from c.1693 and was chief assistant at the time of Kneller's death in 1723. He was instructed in Kneller's will to complete unfinished portraits.

SIZE: 38 x 33 inches inc. frame.

*By descent in the Popham family.
*Sotheby's sale, The Contents of Littlecote House, Wiltshire, 20-23 November 1985.
*Private Collection.

Portrait of Mary of Modena; Attributed to ...

Item Ref

Oil on canvas; unframed; recently cleaned, lined and restretchered.
The pose was one used by Netscher previously; the body, drapery and background are based on a portrait of the sitter's daughter-in-law Queen Mary II (now in the Hermitage Museum, St. Petersburg).

MARY OF MODENA (Maria Beatrice Anna Margherita Isabella d'Este; 1658 – 1718) was Queen of England, Scotland and Ireland as the second wife of James II [England] and VII [Scotland], (1633–1701). Mary Beatrice had wanted to join the convent for the Sisters of the Visitation, which was next door to the Modena’s castle. But she had to marry the widowed James, who was the younger brother and heir presumptive of Charles II. Throughout her life, she was first and foremost a devoted and pious Catholic. She was uninterested in politics and devoted to James and their children, two of whom survived to adulthood: the Jacobite (previous Roman Catholic/Stuart dynasty) claimant to the thrones, James Francis Edward, (who would have become James III of England, but later in life known as "The Old Pretender"), and Louisa Maria Teresa.
Born a princess of the northwestern Italian Duchy of Modena, Mary is primarily remembered for the controversial birth of James Francis Edward, her only surviving son. It was widely rumoured that he was a "changeling", brought into the birth-chamber in a warming-pan, in order to perpetuate her husband's Catholic Stuart dynasty. Although the accusation was entirely false, and the subsequent Privy Council investigation only reaffirmed this, James Francis Edward's birth was a contributing factor to the "Glorious Revolution", the revolution which deposed James II and VII and replaced him with his Protestant eldest daughter from his first marriage to Anne Hyde, (1637–1671), Lady Mary, (later Queen Mary II). She and her husband, William III, Prince of Orange-Nassau, would reign jointly on the English Throne as "William and Mary".

Exiled to France, the "Queen over the water" — as the Jacobites called Mary — lived with her husband and children in the Château de Saint-Germain-en-Laye, provided by King Louis XIV of France ("The Sun King"). Mary was popular among Louis XIV's courtiers; however, James was considered a bore. In widowhood, Mary spent much time with the nuns at the Convent of Chaillot, where she and her daughter Louisa Maria Teresa spent their summers. In 1701, when James II died, young James Francis Edward became king at age 13 in the eyes of the Jacobites, as now "King James III and VIII". As he was too young to assume the nominal reins of government, Mary acted as his regent until he reached the age of 16. When young James Francis Edward was asked to leave France as part of the settlement from the Treaty of Utrecht in 1713, which ended the War of the Spanish Succession (1701–1714), Mary of Modena stayed, despite having no family there, daughter Louisa Maria Teresa having unfortunately died of smallpox. Fondly remembered by her French contemporaries, Mary died of breast cancer in 1718.

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:45.5 x 34.75 inches.
PROVENANCE: With Philip Mould (Historical Portraits).
Private Collection.

Portrait of William Stanhope, 1st Earl of ...

Item Ref

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

This fine painting, the earliest known likeness of Harrington, is illustrated in the National Portrait Gallery's publication of 1977 'Early Georgian Portraits' (p.135, plate 362 (see image 5) as attributed to Kneller, present location unknown.
Philip Mould OBE, Mayfair portrait specialist and star of TV's 'Fake or Fortune', reattributed this portrait to Richardson when it was in his possession.

"A number of portraits were produced after the sitter's elevation to the peerage in 1730 but the only one prior to that must be of the young-looking man in armour sold from the family collection, Sotheby's, 19 February 1964, lot 20".
This fresh and lively portrait is a fine example of Richardson's work and shows why Sir Roy Strong in his book 'The British Portrait' describes the artist as "the ablest of the painters who came to prominence during the last decade of Kneller's life and who flourished after his death".

Stanhope’s early career saw his greatest achievements. After a spell in the army from 1710 to 1715, Stanhope was appointed plenipotentiary to Madrid. The Spanish had not yet come to terms with their declining power, and Stanhope’s task was made almost impossible by the ineptitude of the Spanish Government.
During the outbreak of war between Spain and England during the War of the Quadruple Alliance (1718-1720), he fought a number of successful engagements, most notably as a volunteer with the French army where he commanded a raid on Spanish ships in the port of St Andero.

After the war, Stanhope returned to Madrid as ambassador. He achieved a notable coup in 1726, when the disgraced Spanish first Minister, Baron Ripperda, fled to Stanhope’s house and revealed Spain’s plans for an invasion of England. In 1727 Harrington was deputed as the British plenipotentiary to the congress of Aix-la-Chappelle, for which work he was created Lord Harrington in 1730. In the same year he became Secretary of State for the Northern Department. In 1746 he was appointed Viceroy of Ireland.

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: 37.5 x 32.5 inches inc. frame.

By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.

John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.

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

Item Ref

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.

SOLD....Portrait of Mary, Duchess of Ormonde c.1695, ...

Item Ref

Oil on canvas in well carved giltwood frame, inscribed upper left 'Dutchess of Ormond' (note 18th c. spelling).

LADY MARY SOMERSET, DUCHESS OF ORMONDE (1665 - 1733) was the daughter of Sir Henry Somerset, 1st Duke of Beaufort, and Mary Capel. She became the second wife of James Butler, Duke of Ormonde, on the 3rd of August 1685.
The poet Dryden dedicated a shamelessly flattering poem to her in the preface of his translation of Chaucer's 'Knights' Tale'.

When her husband was exiled Mary lived at Ormonde House, Chelsea from 1720 until her death in 1733.

The Ormondes had two children; Elizabeth, who died unmarried in April 1750 and Mary, who married the 1st Earl of Ashburnham in October 1710.

James Butler, 2nd Duke of Ormonde (April 29, 1665 - November 16, 1745), Irish statesman and soldier, was born in Dublin and was educated in France and afterwards at Christ Church, Oxford.
He was a gallant cavalry commander in his youth and rose to become Captain-General of the Army and Viceroy of Ireland.
However, in 1715 he became involved in the Jacobite Rebellion and had to flee to Spain. His immense estates were confiscated by the Crown.
Towards the end of his life he resided much at Avignon, refusing all attempts at reconciliation with the Hanoverian monarchy. Ormonde died on 16 November 1745, and was buried in Westminster Abbey.
The Duke was one of the great figures of his time; handsome, dignified, magnanimous and open-handed, he enjoyed great popularity.

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'. Dahl was a favourite of the Duke of Ormonde and painted for him several times.

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: 37.5 x 32.5 inches inc. frame

Interestingly, the intensity of the green of the Duchess's robe changes according to the lighting...ranging from the strong green seen in these images to a darker brown-green.
PROVENANCE: for many years in a Somerset Private Collection

SOLD...Pair of Portraits of John and Jane ...

Item Ref

Pair of oils on canvas in giltwood frames.

This charming pair are probably engagement portraits painted to commemorate their forthcoming union.
The artist has used a bright, soft palette giving an optimistic Spring like feel to the paintings. Jane holds a basket of flowers and wears one as an ornament in her hair.
John, as befits an 18th century gentleman of noble lineage, stands confidentally, his tricorne hat under his arm, one hand on his hip and the other tucked into his waistcoat.

The DE CARTERET family.
"There are few families, if any, who can show a record as famous and remarkable as that of the noble family of de Carteret, and the fame of their deeds is recorded alike in French and English chronicles.
Their history through succeeding generations is closely interwoven with the history of Jersey; their most striking characteristic has been a deep loyalty to their Dukes of Normandy, embodied in the persons of the monarchs of England. Nor is it too much to say that this, the most important of the Channel Islands, has been held steadfast and loyal to the English throne largely through the extraordinary patriotism and exceptional qualities of this family.
The de Carterets are of ancient Norman descent. The name Onfrey de Carteret is mentioned amongst those who followed William the Conqueror to England, and he was probably one of the Seigneurs of Normandy even at that early time." 'Jersey: An Isle of Romance' by Blanche B. Elliott, (published 1923).

The de Carterets prospered not only in Jersey; Philip (1639-1683) was the 1st Governor of New Jersey, and Rear Admiral Philip de Carteret (1733-1796) was a famous circumnavigator.

HAMLET WINSTANLEY (1698-1756) was a painter and engraver based predominantly in Warrington, Lancashire. Initially self-taught as an artist by 1713 he was in London drawing in Kneller's academy in Great Queen Street, returning to Warrington in 1721. Under the patronage of James Stanley, 10th Earl of Derby, of Knowsley Hall, Lancashire, Winstanley spent two years in Italy between 1723 and 1725. On his return to England he painted members of the Stanley family which remain at Knowlsey today. Today Winstanley is perhaps best known as an early tutor of George Stubbs (1724-1806).

SIZE: 40.5 x 32.5 inches inc frame.
PROVENANCE: English Private Collection.
VERSO: old inscription "John de Carteret, son of Philip de Carteret married Jane Falla 14th March 1758".


SOLD....Portrait of Jane Bickerton, Duchess of Norfolk ...

Item Ref

Oil on canvas in a period carved and giltwood frame.

This beautiful portrait of 'cabinet size' is thought to be of Jane Bickerton; (the 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner, and only their closest friends would be admitted).
The painting has a great theatrical sense of movement and solidity, using a combination of drapery and pose. this portrait is a perfect example (on an unusually small scale) of Lely's late portraiture with its unashamed courtly sensuality.
The pose in this painting seems to have been reserved by Lely and his Studio for the portraiture of courtesans and mistresses.

Mistress, then wife, of Henry Howard, the 6th Duke of Norfolk, Earl Marshal of England. She was the daughter of Robert Bickerton, Gentleman of the King's Wine Cellar and his wife Anne Hester.
Jane had lived with Norfolk since the death of his first wife in 1662. They had four children and some time before 18 January 1678 they married, causing protests from Norfolk's legitimate children.
Bickerton represents a rare example of a woman of relatively modest background marrying into the highest level of the aristocracy.
After Norfolk's death in January 1684 she married Thomas Maxwell, Quartermaster-General to the army.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll. 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: 29 x 21 inc. frame

PROVENANCE: Anonymous sale, Christie's 16 June 1967.
Then forty two years in a private London Collection.

SOLD...Portrait of a Lady in White; Studio ...

Item Ref

Oil on canvas mounted on board in a magnificent 'Duveen' Louis XV style 19th c. carved and giltwood frame of great quality.
(Frame bears an old plaque incorrectly attributing the portrait to Reynolds).

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.

Though his early works display a great debt to Reynolds, Hoppner soon developed an individual style that is distinguished by bravura and vivacity, combined with a strong feeling of character. These works show a deliberate move away from the classicism of Reynolds, towards a more emotionally engaging and naturalistic image. Hoppner’s success is evident by the fact that he became the only serious rival to Lawrence, and with him was responsible for painting the finest Romantic portraits of the Regency period.

Although this portrait is by an artist painting in the style of Hoppner (rather than by Hoppner himself) he has captured precisely the bravura technique, the bold brushwork, the painterly delight in using the medium and the sense of harmonious feeling which were characteristic of the artist.
While Reynolds’ advised his pupils to rely upon academic study, preparation and drawing, Hoppner preferred to begin working immediately with oils on the canvas. It was precisely this free and fluid approach that allowed Hoppner to capture character, emotion and presence.

SIZE: 56.5 x 46 inches inc. frame
43 x 35 inches canvas size
PROVENANCE: From the London apartment of Laurence Kane, the noted New York decorator.