Portrait of Lady Anne Campbell c.1715; by ...

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Oil on canvas in old reproduction frame of appropriate type.

This superb portrait of the beautiful young Lady Anne Campbell is one of Dahl's most sensitive and gentle portraits of a woman.
She wears none of the accoutrements of her rank...the usual fashionable pearl ear pendants and necklace are absent.
She looks pensively out at the viewer, holding in her right hand, a sprig of jasmine, which, in the language of flowers, symbolises amiability of character.
Unlike the swagger and confidence depicted in most three quarter length portraits of the period here Dahl suggests innocence and vulnerability.

This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement.

LADY ANNE CAMPBELL (c.1696-1736), daughter of Archibald Campbell, 1st Duke of Argyll.
Lady Anne, the youngest of three children by Campbell's wife Lady Elizabeth Tollemache, married James Stuart, 2nd Earl of Bute (1696-1723) in 1711, becoming Lady Anne Stuart, Countess of Bute at the age of 15 - 17.
She bore him eight children.
Upon his death in 1723, she married Alexander Fraser, 7th Baron of Strichen, in September 1731.
Anne died in 1736, aged 40, and her husband died c.1775.

MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

SIZE: 57 x 48 inches inc. frame.
*Lt. Col. Ernest Henry Dene Stracey (1871-1948)
*Sold by his executors at Christie's, June 25th 1948, bought for 10 gns by Wiggins, as by Dahl
*Hon. Francis Bowes-Lyon, Ridley Hall, Northumberland.(image 9)
*Reynolds Gallery, Barbican, Plymouth, sold 1980, as by Dahl.
*Private Collection.
*Lawrences, Crewkerne, Somerset 2004, as by Dahl.
*Private Collection, Somerset.

Portrait of a Lady, Possibly Elizabeth Trentham, ...

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Oil on canvas in a good carved and giltwood frame.

The sitter, possibly Elizabeth Trentham, holds, by its chain, a very fine and costly watch; the significance of this is not clear. It is most unusual for a female sitter to be shown with such an item...does it represent the inevitable passing of time? Was it the cherished possession of a deceased male relative? Attached to it is a black ribbon, symbol of mourning.

Regardless of the identity of this lady this is a high quality portrait by an artist strongly influenced by Lely's style of the early 1660s, to the extent of showing the sitter's left hand raising the material of her dress, as Lely often depicted his sitters doing; witness his portraits of Catherine of Braganza, Diana, Countess of Ailesbury and Frances Teresa Stuart.

Elizabeth Trentham was born in 1640, she was the daughter of Francis Trentham. She married Brien Cokayne, 2nd Viscount Cullen of Co. Tipperary, son of Charles Cokayne, 1st Viscount Cullen and Lady Mary O'Brien, before 1 April 1657.
She became Lady of the Bedchamber to Queen Consort Catherine.
She died on 30 November 1713.
(Image 8 shows a portrait of Viscountess Cullen, painted by Sir Peter Lely, at Kingston Lacy, Dorset.)

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Dutch born as Pieter van der Faes, he became Principal Painter to the King, painting everyone of importance and 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: 55 x 46.25 inches inc. frame.
PROVENANCE: French Private Collection.
English Private Collection.
Verso: fragmentary old Parisian storage label and two inventory numbers.


Portrait of Mary, Lady Killigrew c.1637: Studio ...

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Oil on canvas, unframed.

Lady Killigrew here gazes out at the viewer directly. By the late 1630s, van Dyck seems to have devised for his female portraits a less specifically fashionable form of dress. Clearly the prestige of being painted by him was such that his sitters were prepared to accept this. Mary is shown in just such a gown – simplified, and minus the kind of richly textured lace that was so time-consuming to paint – and which has thus become a ‘timeless’ version of contemporary dress. It is clear that van Dyck had absorbed ideas from Venetian painters.
Van Dyck maintained a busy studio; he had a number of talented assistants to help meet the demand for his work. Working under his eye they would produce copies of his portraits if more than one was required.

MARY HILL (c.1610 -1686) was the daughter of John Hill of Honiley, Warwickshire. She married Sir William Killigrew, son of Sir Robert Killigrew and Mary Wodehouse, in 1626.
Sir William Killigrew (1606-1695) was a courtier to Charles I, and also later a playwright. Mary was a dresser to the queens Catherine of Braganza and Henrietta Maria.
William Killigrew was knighted by Charles I in May 1626 – probably shortly after his marriage to Mary Hill. They took a Grand Tour of Europe before Sir William was elected M.P. for Newport and Penryn in Cornwall, and appointed Governor of Pendennis castle and Falmouth Haven. He was made Gentleman Usher to King Charles I, studying with him at Oxford and commanding one of the horse troops that guarded the King during the Civil War.

The couple were to have seven children in all. As Royalists, the couple were forced by poverty to live apart during the Civil War and Commonwealth period. They were re-united at the Restoration of the Stuart monarchy in 1660, when Sir William regained his earlier court post and Lady Mary became dresser to the dowager Queen Henrietta-Maria.

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 24.5 inches.
PROVENANCE: With Philip Mould (Historical Portraits).
Private Collection.

Portrait of Thomas Wright 1739: by John ...

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

In 1949 Christie's stated that the portrait was signed and dated 1739, lower left, and in the entries in the two reference books mentioned below the same statement is made, and again stated in an old handwritten label verso. However, now only some faint marks can be seen.

This excellent portrait is typical of the best work of Heins. The sitter, Thomas Wright of Wighton, Norfolk, looks confidently out at the viewer, his tricorne hat held as if just removed to courteously greet us....the very model of a fashionably and expensively dressed gentleman of the early Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. Even so, Thomas has taken care to sweep back his coat to display the large quantities of silver lace on his silk waistcoat. His silver hilted sword, the mark of a gentleman, is also on discreet display.

Thomas married Anne, the daughter of the Reverend William Wilson, Rector of Stiffkey. Their daughter Anne married Captain Thomas Lee Warner of Walsingham.
Thomas Wright died in 1762, 23 years after Heins painted this portrait. His death was announced in 'The London Magazine, or, Gentleman's Monthly Intellegencer'.

JOHN THEODORE HEINS (1697-1756), also known as Dietrich or Dirk, was born in Germany. He settled in Norwich (at that time a city second in importance only to London) in 1720.
He made a good living painting the local prosperous merchants and gentry and was accepted into their social circle. His style was influenced by that of Thomas Hudson.
Many of his finer works were commissioned by the Astley family of Melton Constable.
Heins died in Norich and his will was proved 30 August 1756 by his widow, Abigail.
His son, also called John Theodore Heins was also a portraitist but lacked his father's talent.
Heins senior's work is in Norwich Castle Museum, Felbrigg Hall (National Trust), the National Portrait Gallery, Cambridge University and others.

SIZE: canvas 50 x 40 inches.

PROVENANCE: *Sold: Christie's, London 7 October 1949.
*The Collection of a Titled Lady, East Sussex.
*Collection of a Fellow of a Cambridge college.

*A photograph of this portrait appears on page 167 of 'The Dictionary of British 18th Century Painters' by Ellis Waterhouse, and also on page 242 of 'The Dictionary of Portrait Painters in Britain up to 1920' by Brian Stewart and Mervyn Cutten. See Image 5.

VERSO: old handwritten label: "Thomas Wright, Wighton, Norfolk. M. Anne dau. of Revd. Wm. Wilson, Rector of Stiffkey. Their daughter Anne married Capt. Thomas Lee Warner of Walsingham.
by Heins. signed."

Portrait of Mary of Modena; Attributed to ...

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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 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.

Portrait of a Nobleman c. 1635; attributed ...

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Oil on canvas in giltwood period frame.

This sensitive portrait of a gentleman, perhaps a nobleman, is typical of Johnson's best work.
The sitter has a pensive appearance...looking at the artist, but his thoughts seem far away.

CORNELIUS JOHNSON (Jonson, Jansen, Van Ceulen), 1593-1661, was one of the most gifted and prolific artists working in England in the 1620s and 1630s. Born in London but of Flemish and German extraction, he is thought to have trained as an artist in the northern Netherlands before establishing himself in England around 1618. This portrait was painted about 1635, at the height of his popularity, and three years after he was appointed as ‘his Majesty’s servant in ye quality of Picture drawer’ to Charles I. It is a compelling example of Johnson’s restrained, intimate portrayals for which he was renowned, and shows characteristic attention to detail in a style and pattern that Johnson had perfected by the 1630s for his half-length portraits.
His portraits are very sensitive to character, beautifully drawn and meticulously painted.
Johnson always preferred the feigned oval, suggestive of miniatures, of which his own began in 1625.

In a period when black clothing was the fashion (a dense black being very expensive to obtain) artists strove to depict the different nuances and textures of the fabrics as convincingly as possible.
They found that black is an ideal background with which to contrast the crisp white linen and rich lace and this dramatically accentuates the face and hand gestures. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of portraiture of this period.
Typical of Johnson is the attention he pays to the detail of his sitter's costly garments; in Image 5
his detail on this close up is almost photographic. It shows how fine the lace and linen of the falling band actually is and an indication that the slashes have been finished off with very small hems by the tailor to avoid fraying.

Johnson is the most satisfying and 'English' of the portraitists working in England in the 1620s and 30s. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.
His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the gentry and lesser nobility. His style is easily identified by its coolness and restraint.

In 1632 he was made Painter to the King, but his wife's fears of the approaching Civil War caused him to retire to Holland in 1643. He continued to paint for the rest of his life, but was reportedly ruined by the extravagance of his second wife and died a poor man in Utrecht in 1661.

SIZE:34 x 29 inches inc. frame.
*Christie's, London, 27 May 1988, Lot 98 (as Circle of Cornelis Jonson van Ceulen).
*Private Collection.

Verso: damaged old label "140. C....... Portrait of a noblema.."

Portrait of Lady Mary Montgomerie c.1666; Attributed ...

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Oil on canvas in period giltwood frame.

LADY MARY MONTGOMERIE was the daughter of Hugh Montgomerie, 7th Earl of Eglinton and Lady Mary Leslie.
The title of Earl of Eglinton has been held by the famous Scotish family of Montgomerie since 1508. The Earl of Eglinton is Hereditary Clan Chief of Clan Montgomerie.

Lady Mary was married in 1662 to George, 4th Earl of Winton, thus becoming the Countess of Winton. The marriage feast was held at her father's house in the West Country on 4 September 1662.
Lady Mary had one daughter, also Lady Mary, who died aged three in 1666. The black mourning band decorated with large diamonds almost certainly commemorates the child's untimely death. The Countess of Winton died in 1677.

(Our thanks to Christopher Sheppard, a descendant of the Earls of Wintour, for his help in research).

JOHN HAYLS (Hales) (fl.1651-1679) was a portrait painter who studied under Miereveldt. He was a competitor of Lely and painted in the manner of Van Dyck, also being an excellent copyist of his portraits.
In 1666 Samuel Pepys, the famous diarist and Commissioner for the Royal Navy, had his and his wife Elizabeth's portraits painted by Hayls. Of the paintings he wrote:- "I am still infinitely pleased with my wife's picture. I paid him £14 for it, and 25s for the frame, and I think it is not a whit too dear for so good a picture. It is not yet quite finished and dry, so as to be fit to bring home yet. This day I begin to sit, and he will make me, I think, a very fine picture. He promises it shall be as good as my wife's."
Hayls died in Bloomsbury and is buried in St. Martin's Church.

SIZE: 43 x 34 inches inc. frame.

PROVENANCE: By descent to the 14th Earl of Kintore of Keith Hall, Aberdenshire. Verso: old inventory label "The Earl of Kintore. No. 53 on Oct. '83 valuation".
(The fourth photograph shows Keith Hall as it is today.)

Double Portrait of Two Aristocratic Children c. ...

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Oil on canvas in walnut frame.

This is a rare, charming and intimate double portrait...its rather naive quality is particularly endearing. The children are clearly of noble birth and are dressed in extremely expensive clothing.
Quite what important event is recorded here is not known. It is possible that they are brother and sister but much more likely, despite their apparent facial similarity, that this is a marriage portrait commemorating the union of two powerful dynasties.
The conjoined hands state the chief message of this picture. The children's expressions show that they are aware of the solemnity and importance of the occasion being recorded.
The girl wears, suspended around her waist, a large piece of jewellery...rubies, emeralds and pearls set in gold. It is so large as to be almost out of scale for the little child; it is likely that this was a marriage gift from the boy and is of a size to be a brooch for an adult.
Sir Anthony van Dyck's marriage portrait of the ten year old Princess Mary of England and the fifteen year old William, Prince of Orange shows her wearing just such a jewel, a gift from her husband. Older and taller than our sitter, Mary wears her brooch at the neckline of her dress.

Marriages of children in order to secure unity and as a political move was quite common amongst the great and powerful. After the ceremony the children would go to their separate homes to meet again and live as a couple when mature.

SIZE:21.75 x 25 inches inc. frame.
PROVENANCE: The Melton Fisher Collection, Suffolk.

Portrait of a Young Noblewoman 1611; Follower ...

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Oil on panel in reproduction 'cassetta' frame of appropriate type.
Probably a marriage or betrothal portrait, painted in 1611 by a Follower of Van Mierevelt.
Almost certainly Flemish or Dutch, the young aristocrat, wearing the rigid Spanish fashions of the time, is depicted looking distant, aloof and of a subdued high-class distinction.
The young woman, aged 17, wears expensive and fashionably slashed clothing along with a fortune in jewellery to further demonstrate her status.
This portrait would probably have been commissioned to commemorate a dynastic union of great and powerful families, her coat of arms is prominently displayed along with her age, 17, and the date 1611.

At this time Spain controlled a large area known as the Spanish Netherlands, it was a portion of the Low Countries under their rule from the sixteenth to the eighteenth century. This region comprised the Netherlands and modern Belgium, Luxembourg as well as part of northern France.

Michiel Jansz. VAN MIEREVELT, Mierveld or Mireveldt (1567 - 1641) was a Dutch Golden Age painter.
His portrait style was extremely influential and he painted for most of the European Courts; he was much emulated.

SIZE: 35 x 30.75 inches inc. frame.
PROVENANCE: Cheshire Private Collection.

Portrait of a Young Boy and his ...

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Oil on canvas in giltwood frame.

Painted in the late Georgian period, the boy and his pet spaniel are in a flower filled landscape; his hoop and stick in his right hand, it seems as if the two have just paused on their way to play.
The identity of the sitter is not known, but clearly he is from a wealthy family...the clothes and the fact that the portrait is full-length testify to that.

SIR WILLIAM BEECHEY RA FSA (1753-1839). He was born in Burford, Oxfordshire and entered the Royal Academy Schools in 1774.
After some years in London he moved to Norwich, then a very important city, where he enjoyed a good practice painting conversation pieces, and life size portraits from c.1783. He returned to London in 1787 and worked from Brook Street; he became extremely successful and moved to Hill Street, Berkeley Square, then to Hanover Square and ultimately to Harley Street.
He was elected an Associate of the Royal Academy in 1793, then RA in 1798 and was knighted in 1798 (the first artist to receive this honour since Reynolds).
Beechey was appointed Portrait Painter to Queen Charlotte in 1793 and by 1814 Portrait Painter to Her Majesty and to HRH the Duke of Gloucester.

SIZE:55 x 36 inches inc. frame.
PROVENANCE: Private Collection, Holland Park, London.

Pair of Portraits of Two Girls of ...

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Both small oil on canvas in carved and giltwood frames, bearing the name plate 'Sir Peter Lely'

The two sitters are most likely members of the Howard of Effingham family.

The Howard family is an English aristocratic family founded by John Howard who was created Duke of Norfolk (3rd creation) by Plantagenet monarch Richard III of England in 1483. However, John was also the eldest (although maternal) grandson of the 1st Duke of 1st creation. The Howards have been part of the peerage since the 15th century and remain the Premier Dukes of the Realm in the Peerage of England, acting as Earl Marshal of England.

William Howard, 1st Baron Howard of Effingham (c. 1510 – 12 January 1573), was the founder of the Effingham branch of the family, he was the eldest son of Thomas Howard, 2nd Duke of Norfolk by his second wife, Agnes Tilney. Howard served four monarchs, Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, in various official capacities, most notably on diplomatic missions and as Lord Admiral and Lord Chamberlain of the Household.

REMIGIUS VAN LEEMPUT (1609?-1675) was a highly accomplished painter working in seventeenth century England, and a celebrated small scale copyist of the works of Sir Anthony Van Dyck (1599-1641) and Sir Peter Lely (1618-80).
Leemput was baptised in Antwerp in 1607 and by 1635 was living in Covent Garden, London, which is when, perhaps, he began working in the studio of Van Dyck, who arrived in England three years earlier. Very little is known about the pupils who trained and worked with Van Dyck, although it is generally acknowledged that Leemput was employed to assist with the preliminary development of his works and also as a copyist. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.

SIZE: 16 x 13 inches inc. frame.
PROVENANCE: Private Collection, a Northamptonshire Country House.
Verso: an old, handwritten label , badly torn " No.1 .....Howard..Daught(er?) ..Lord Effingham Howard. Sir P.Lely'. Both paintings bear the chalk inscription 'Hemsley'.

Portrait of a Gentleman c.1705, by Michael ...

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Oil on canvas in a period carved and giltwwod frame.

A good quality portrait absolutely typical of its time; the handsome young sitter wears a fashionably large and expensive wig. (The expression 'bigwig' for a rich or important person comes from this fashion).
Not only typical of its time but also of Dahl's style; the turned head, with more than a hint of swagger, and the negligently draped silk wrap with casual tying of the cravat...all very much 'a la mode' for the young aristocrat or gentry.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

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

PROVENANCE: H.A. Bright of Brockbury Hall, Colwall, Herefordshire, and by descent to:
A.H. Bright, by whom lent to:
F.Tustin, Colwall, by 1938.

Brights have occupied Brockbury since the time of Henry Bright (1562-1626), prebendary of Worcester and master of King's School. The existing brick house was built by Robert Bright (1664-1749) but has an earlier core. It was refronted in 1738, probably by Robert Bright's grandson, also Robert, a West Indies merchant.

SIZE: 35 x 29.5 inches inc. frame.

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

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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 Anne Frederick 1782, by James ...

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Oil on canvas in original late Georgian gilded frame.
Inscribed and dated 1783 verso.
It was said to have been painted by James Northcote under the supervision of his former master Sir Joshua Reynolds.

Mrs Frederick was born Ann Gregson, daughter of Francis Gregson: she married Thomas Lennox Frederick, son of the Honourable Charles Frederick, Knight of the Bath, in 1773, but they had no children.
Born in London in 1750, Thomas had entered the navy in 1768. He was a lieutenant on HMS Ocean at the time of his marriage.
Anne was known as "an accomplished young lady and famed for her lively witticisms".
Thomas went on to become an admiral, dying in 1779.

Mrs. Frederick was godmother to Charles Bayley, only son of William Bayley. On her death, having no children, this portrait passed to the Bayleys of Stoke Damerall near Plymouth. Northcote had painted Mary Bayley and Richard Bayley at the same time as he portrayed Anne Frederick. The Bayley portraits, framed exactly as this one, were sold at Christie's in 2005 for £8400 and £6000 respectively.

This is a striking portrait showing the very latest fashions of the period, especially the hat. Women’s fashion in the late 1780s was characterised by hats of considerable size, frequently hung with veils and ribbons or decorated by feathers and perched atop a wig. The principal society portraitists all leave a remarkable record of such hats in their work of this period. In Gainsborough’s work the fashion so frequently occurs that this style of headgear is sometimes referred to as a Gainsborough hat. Sir Thomas Lawrence depicts similar fashions.

JAMES NORTHCOTE R.A.(1746-1831) was one of the most prolific portrait painters of the late 18th and early 19th centuries. In 1777, following a period of apprenticeship in the studio of Joshua Reynolds, he journeyed to Paris, Rome and Germany on a prolonged Grand Tour. In Rome he was elected to the Accademia del Forti and, like so many artists before him, took the opportunity to learn from the old masters through sketches and observational studies. On his return to England in 1780, his new found appreciation for the Classical manner increasingly informed his own work.
Northcote had been elected ARA in 1786 and RA in 1787.
His principal talent lay as a portraitist, though forays into the genre of History Painting, notably with 'The Wreck of HMS Centaur' (1784,) helped establish his reputation. Through economic necessity Northcote was compelled to pander to the popular taste for small fancy subjects, 'hack-work' as he called it, illustrating novels from the celebrated authors of the day. An ambitious moral series, entitled Diligence and Dissipation, which was intended to rival Hogarth's Marriage a la Mode (1796) proved a financial failure and Northcote returned to portrait painting in earnest.

SIZE:35.75 x 30.75 inches inc. frame.
*Commissioned from the artist in 1782 for 8 guineas.
*Bequeathed to Charles Frederick Baylay, godson of Mr Frederick.
*Thence by family descent to the present day.

Sold with photocopies of various historical documents (some shown here).

Portrait of a Girl c.1735: Circle of ...

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Oil on canvas in a Georgian gilt frame (lower edge of the frame has numerous small damages).

An enchanting portrait of a young girl in a pink dress with a blue wrap; she smiles rather shyly at the viewer.
Portraits of this small size were often displayed in the more intimate rooms of a household and one can imagine this in the girl's mother's boudoir or her private sitting room.

JOSEPH HIGHMORE (1692-1780) was an English portrait and historical painter, illustrator and author.
He was one of the most talented and versatile English portraitists of the eighteenth century. He first trained, for five years, as a lawyer but abandoned the practice and entered Sir Godfrey Kneller's Academy in London in 1713. When he began work as a professional artist in 1715 he found his natural ability to draw a sharp likeness soon won him a large clientele in the City, while his legal education and manner helped gain access to the nobility and gentry. Such was his success that the poet John Bunce wrote the following verse soon after the death of Kneller in 1723;

“No more let Britain for her Kneller grieve
In Highmore see a rising Kneller live
Whose happy pencil claims as high a name
If equal merit challenge equal fame.”

Although Highmore’s style first followed that of Kneller (as did whole generations of early eighteenth century artists), he also assumed the more forceful and realistic characterisation of Hogarth. As a result, Highmore’s portraits soon lost much of the Augustan stiffness of Kneller, instead showing a more subtle and fluid construction. This portrait of the mid 1730s demonstrates a further evolution of Highmore’s style following his trip to France in 1734. Like many of his contemporaries, such as Hayman and later Gainsborough, Highmore was heavily influenced by the French rococo manner first popularized by the influential French painter and engraver Hubert Gravelot, who arrived in London in 1732.

SIZE:19 x 17.5 inches inc. frame.
PROVENANCE:English Private Collection.

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

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Oil on canvas.
This is a portrait of the Dutch Golden Age, the age of Rembrandt and Hals. The careful and precise painting of fabric and lace was typical of the period and van der Helst was noted as a master.
The gentleman, fashionably and expensively dressed, stands in a relaxed yet elegant pose; his expression serious and contemplative as he looks thoughtfully at the viewer.
In the distant background is a huge building...castle, or palace, it is not possible to tell. Clearly it was of significance to the sitter.

Bartholomeus van der Helst (1613 – 1670) was a Dutch portrait painter.
Born in Harlaam he moved to Amsterdam about 1639 where van der Helst was a contemporary of Rembrandt. He soon became the most popular painter of portraits in that city, his flattering portrayals being more immediately appealing than Rembrandt's dark and introspective later work. Some of Rembrandt's pupils, including Ferdinand Bol and Govaert Flinck, adopted Van Helst's style instead of their master's.
Van der Helst remained the most influential portrait painter of the Amsterdam elite until his death in 1670.

SIZE: canvas: 44.5 x 36.5 inches.
frame: 51 x 43 inches.

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.

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

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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 Sir John Percival, Bart. (1629-86) ...

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The sitter is Sir John Percival, Bart. of Lohort Castle, Cork. Son of Sir Phillip Percival and Catherine Usher, he was born in 1629 into a wealthy English family who settled in Ireland during the reign of Elizabeth I. The Percivals had been richly rewarded by Elizabeth with estates in Ireland as a result of the work of Sir John's grandfather, Richard Percival, who had played a pivotal role in decoding documents captured from the Spanish which subsequently proved to be the invasion plans for the Armada.

Sir John Percival inherited Lohort Castle on his father,s death in 1653, but also built another magnificent house Burton Park, at Churchtown, in 1676. He married Katherine Dering, sister to Mary, Lady Knatchbull, an ancestor of the Brabourne family of Kent.

Sir John Percival died in 1686. Tragically his great work Burton Park was plundered and ruinated in 1694 by repparees, retreating from their defeat by William of Orange at the Battle of Boyle. The house stood a ruin until it was rebuilt by one of Percivals decendents, now the Earls of Egmont, in 1790.

Records show that Percival was painted by both Sir Peter Lely and Sir Godfrey Kneller, the most eminent royal portraitists of the time. This picture, painted circa 1680, reveals a close knowledge of the work of Lely. The depiction of the costume is typical of Lely and the Restoration in its flamboyance, but the handling of the paint and softer modelling suggest the hand of Henry Tilson, a pupil and later assistant of Lely's, and a painter of great charm in his own right.

SIZE:Oil on canvas 50 x 40 ins
In carved and gilded frame 57 x 47 ins
Inscribed, upper right,
'Sir John Percivele Bart.'

By direct descent from the Brabourne family, descendants of Lord Mountbatten
This portrait of Sir John Percival hung in the collection of Patricia, Countess of Burma, Lady Brabourne, wife of Sir John Brabourne and daughter of Lord Mountbatten.
An old label on the reverse records the location: 'Lady Brabourne, 1st Landing, 66' where it hung next to the portrait of his wife Katherine, at the family seat of Mersham Le Hatch, Kent.

Latterly in a private collection in an Elizabethan country house in East Anglia.


SOLD....Portrait of a gentleman of the ...

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

This charming naive portrait of a young gentleman and a warship poses some intriguing questions.
It dates from the end of the 17th century as is shown by the gentleman's clothing and the style of the stern of the vessel.
Painted on the stern, amongst the carved gilt 'gingerbreading', can be seen the coat of arms of the Rolt family.

The sitter gestures towards a pair of shipbuilder's dividers, a globe in the background.
The Pett family of Kent were famous shipbuilders for centuries and were cousins of the Rolt family of Bedfordshire, who were related to the Orlebars of Hinwick House, Bedfordshire.

This portrait hung for many years at Hinwick, but its true date, sitter and the name of the ship of the line depicted were all lost, and curiously it was said in the Hinwick House guide that the ship was Sir Francis Drake's Golden Hind and that the sitter was Sir Peter Pett, Master Shipwright to Elizabeth I.
There were four families of Petts involved with shipbuilding and sailing.
In the 17th century it was said of the family that they were "so knit together that the Devil himself could not discover them". 'The Command of the Ocean: A Naval History of Britain, 1649-1815' by N.A.M. Rodger.

Could this portrait commemorate the building of a ship of the line by a Pett for a Rolt? The vessel does carry the Rolt arms on its stern and it flies the long red pendant of a private ship of the Red Squadron of the Battle Fleet that was used in the second half of the 17th century, and the sitter points towards shipwright's dividers.

The painting hung at the time the guide was written in the Staircase Hall then, in recent times, on the west wall by the turret door.

VERSO: a fragmentary handwritten label in copperplate script:-

SIZE: 51 25 x 41.5 inches inc. frame.
PROVENANCE: Hinwick House, Bedfordshire.


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'

Portrait of a Lady c.1710; Attributed to ...

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Oil on canvas in period carved giltwood frame.
The frame bears the attribution 'Sir G. Kneller' although this is more likely a work by Michael Dahl.

The unknown sitter, an attractive young woman, looks our at the viewer with an aristocratic hauteur.

This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.

Joseph Addison, famous essayist, poet, playwright and politician and a man of letters sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors...every part of the Dress was in a Flutter, and endeavoured to distinguish itself above the rest."

MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

Our thanks to James Mulraine, art historian.

SIZE: 37 x 32 inches inc. frame.
PROVENANCE: Sussex Private Collection.

Portrait of a Lady of the Popham ...

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An attractive and colourful image of a young lady of fashion.
The first Littlecote House 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 lady, were sold by Sotheby's at a three day sale.

WILLIAM WISSING also known as Willem Wissing, (1656 - 1687), was a Dutch portrait artist.

He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630–97) and Arnoldus van Ravestyn (1615–90). In 1676, he moved to England, where he studied with and assisted Sir Peter Lely.
After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
In 1685, James II of England sent Wissing to the Netherlands to paint portraits of his Dutch son-in-law and daughter, the future William III of England and the future Mary II of England. Wissing died in 1687 at the peak of his fame as a portrait painter, at Burghley House, the home of Algernon Capell, 2nd Earl of Essex outside of London.
He was buried in St Martin's Church, Stamford, Lincolnshire.

SIZE: 37.5 x 32 inches inc. frame.

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