Late 18th century frame.

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An attractive frame, probably French, late 18th century, with applied corner decorations; some small damages. Old woodworm holes, now dead, on the back. Would make a good mirror frame.
Overall size: 29 x 24 inches.
Rebate: 25 x 19.5 inches.
Sight line: 24 x 18.5 inches.

Late 19th/early 20th century frame.

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A fine frame in excellent condition, c.1890-1920, in the 17th century style. Would make a superb mirror frame.
MEASUREMENTS. External: 35.9 x 29.25 inches.
Rebate: 29.5 x 23 inches.
Sightline; 27.5 x 21 inches.

Portrait of a Lady of the Palmer ...

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The lady is traditionally identified as a member of the Palmer family of Dorney Court, Berkshire.
The sitter, fashionably dressed in her daring 'undress', looks confidently at the viewer. This is a good example of the typical society portrait of the time and representative of Murray's best work. The use of the feigned stone oval was typical of the period.
The hand carved and gilded frame is a work of art in its own right.

THOMAS MURRAY 1663 – 1734.
He received his first lessons in art from one of the De Critz family. Subsequently he became a pupil of John Riley.
His works of before 1700 are more independent of the style of Sir Godfrey Kneller than his later portraits
Murray was successful financially. He died in June 1734, leaving no children, and bequeathed his money to a nephew, with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much. His nephew, however, taking him at his word, buried him in St. Paul's, Covent Garden, and found the monument too expensive to erect.
SIZE: 34.5 x 29.5 inches including frame.
PROVENANCE: Horton Lodge, Windsor, Berkshire.

Portrait of Lady Dorothy Sherard c.1745, by ...

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Oil on canvas in a fine period frame. This is a superb painting, an example of Soldi's finest work, with an excellent aristocratic provenance.

John Ingamells attributed this portrait to Soldi during his Directorship of the Wallace Collection (1977–92). Stylistically the portrait is very similar to a portrait of Lady Graham (d.1763) signed and dated 1743 (John Ingamells, ‘Andrea Soldi—a check-list of his work’, 'Walpole Society', XLVII, 1978–80, p. 10, cat. no. 33, pl. 2d). Philip Sherard, 2nd Earl of Harborough (d.1758) was painted at three-quarter length by Soldi at about the same time and this supports the suggestion that the sitter was perhaps his wife, Anne Pedley (Ingamells 1978–80, p. 11, cat. no. 35A, pl. 3b).

However, recent work by our researcher says:
"Starting (as one must) from the Soldi expertise of Ingamells, he suggests this should be dated to the mid-1740s and notes that Philip Sherard, 2nd Earl of Harborough sat to Soldi around that time.
Philip was born c1680 and died in 1750. As he married Anne Pedley in 1703, she would have been over 60 at this point, so the suggestion that the sitter is his wife really doesn't hold water: we need to drop down a generation...

There would seem to be two plausible contenders:

* Bennet Sherard, 3rd Earl of Harborough and son of the above, married (on 28 June 1748) Lady Elizabeth Verney, daughter of Ralph Verney, 1st Earl Verney of Middle Claydon Bucks, and Catherine Paschall. Elizabeth was born 2 May 1710, so this would fit (the sitter looks to be in her thirties), She bore multiple sons and daughters, but none survived infancy. She died in 1756. If you Google '' and find the pdf 'The Palmer Family of Roydon and Chelsea', there is a picture of the Countess on p251, a rather undistinguished work apparently by Thomas Hudson. It is supposed to be at Claydon House, but strangely doesn't appear on the NT register of contents! A possible likeness, but inconclusive in my opinion.

* Lady Dorothy Sherard, Bennet's sister, who married the Revd James Torkington, member of a gentry family with their seat at Stukeley Hall, Great Stukeley. James was Rector of King's Ripton and Little Stukeley, Hunts. Lady Dorothy was born 10 Nov 1707, married 1731 and died 1780. Their daughter Ann married religious and political reformer John Jebb and was herself a radical writer.

If you go to the Wikipedia page for the 2nd Earl, footnote 5 at the bottom takes you to "An 18th Century Leicestershire Squarson", a fascinating biography of the 4th Earl which provides chapter and verse about the earlier Sherard family's feuds and financial challenges. It also makes it clear that Dorothy and her husband remained very much at the heart of the family circle.

I would go for Lady Dorothy."

ANDREA SOLDI (1703-1771) was an Italian portraitist active in Britain.
Born in Florence and had come to England in about 1736 on the advice of British merchants belonging to the Levant Company, who had commissioned their portraits from him during his travels in the Middle East. From 1738 to 1744 he won much success in London's art market and among Italophile noblemen back from their Grand Tour, being preferred to both English portrait practice (fluctuating between Rococo and Kneller-like styles) and to other Italian portraitists in England at the time, such as the Cavaliere Rusca (worked in London 1738–39), and Andrea Casali (worked in London 1741–66). Beginning "above thirty portraits" from April to August 1738 alone (according to Vertue), Soldi's only serious rival was Jean-Baptiste van Loo (in London 1737–42). Particular rival was Jean-Baptiste van Loo (in London 1737–42). Particular patrons included the 2nd Duke of Manchester, 3rd Duke of Manchester, 3rd Duke of Beaufort and 4th Viscount Fauconberg. Soldi died in London.
SIZE: 37 x 31.75 inches including the frame.
PROVENANCE: The Earls of Harborough, Stapleford, Leicestershire, and by descent.

Gilt frame, early 19th century.

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An early 19th century giltwood frame, Late Georgian, some small damages and old, dead, wormholes to the back.
Would make a good mirror frame.
The rebate has been widened on one side to take a larger painting, but this can be ignored.
Overall size: 26 x 23.5 inches
Rebate: 22.25 x 18.5 (originally 17) inches
Sightline: 21 x 15 inches

Late 18th century French gilt frame.

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A good quality late 18th century French frame, in excellent unrestored condition with a good patina, just a few small chips to the gilding.
Would make a very fine mirror frame.
overall 35.5 x 29.75 inches
sightline: 28.5 x 23 inches
rebate: 29.5 x 24 inches
PROVENANCE: From a French manoir.

Mid 19th century frame.

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An impressive mid 19th century frame in the mid 18th century style, and in distressed country house condition .
Would make a very good mirror frame.
Overall size: 32.5 x 27.5 inches.
Sightline: 26 x 21 inches.
Rebate: 26.5 x 21 .5 inches.

Portrait of a Young Lady c.1900, by ...

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A very fine portrait by the American artist Frank Desch, signed lower left. The attractive young sitter, positively glowing with happiness, proudly displays her engagement and marriage rings. There is little doubt this portrait was commissioned to commemorate her wedding.
Desch was strongly influenced by the French Impressionists, and indeed, the background is typical of the work of Matisse.
The portrait was painted in Paris and is the French great grandmother of the lady from whom I bought this painting. It is in superb condition, in its original French plaster frame; the canvas has never been lined, and now the old discoloured varnish has been removed, and the original surface revealed, the painting can be seen as vibrant as the day it was created.

FRANK DESCH (1873-1934) was a painter born in 1873 in Philadelphia, Pennsylvania. He lived in Provincetown, Massachusetts and later in New York City, and studied under William Merritt Chase and Charles Hawthorne, and Louis Francois Biloul in Paris. Later he worked for the Saturday Evening Post. He often worked in oil, watercolour and pastels, and frequently depicted genre, figurative and floral subjects.

Member: Allied Artists of America; Provincetown Art Association.
Exhibited: Art Institute of Chicago, 1914, 1921, 1923, 1925; Pennsylvania Academy of Fine Art 1923; Salmagundi Club, 1924 (prize); Corcoran Gallery, 1919, 1921; Florida Federation of Art, Miami, 1930 (prize).

SIZE: 39 x 34 x 3.25 inches including the frame.
PROVENANCE: by direct descent through the family.