Magnificent carved walnut armchair(s) c.1685-90.

Item Ref
9111

There are four of these very rare chairs, but they may be bought individually, as a pair, or all together. THE PRICE GIVEN IS FOR ONE CHAIR. Three are in excellent condition, firm and ready to use; one is equally sturdy but needs restoration to the front seat rail where woodworm damage has caused the cane to detach. (see image 12) A fillet let into the rail and recaning are needed, for this reason this chair is £600 less than the others.
As usual with these chairs there are signs of old woodworm in all, but now defunct.

Many of this type of caned chair exist, but these are most uncommon examples; magnificent and rich, the quality and quantity of the carving is superb.... most probably an Anglo-Dutch workshop in London. All are of excellent colour with a good patina. These chairs, over 300 years old, with their glorious sculptural quality, are not just a joy to look at but also to use.

DIMENSIONS: 50 inches tall, 23 inches wide, 29 inches deep (including the rake to the backs), seat height 18 inches.
PROVENANCE: Sussex country house collection.
£1,985

Portrait of a Young Lady c.1665; Attributed ...

Item Ref
9100

Oil on canvas in a very fine quality carved and giltwood period frame.
A charming portrait of a young lady, little more than a girl, shown within a feigned carved stone oval; this was a fashionable conceit of the time and was much used by Sir Peter Lely and his 'disciple' Mary Beale.
It is almost certain that portrait was to commemorate the betrothal of the young sitter; marriages in the aristocracy were often planned well ahead of the event, sometimes shortly after the birth of the child. It was more like the merger of powerful businesses than marriage as it is understood today.
The sitter is, at present, unknown; so as she regards us with a wide eyed look of innocence, one cannot help but wonder how her life progressed.
JOHN GREENHILL (c.1644-1676), was an English born portrait painter whose initial training is unknown but who rivalled the leading London artists of the seventeenth century.
The Restoration of King Charles II (1630-85) stimulated an upheaval within the cultural sphere, in particular artistic patronage. Portrait painters such as Sir Peter Lely quickly found favour amongst the highest ranks of society, and as a result many continental artists migrated to England in a bid to win the patronage of the monarch, prosperous courtiers and powerful statesmen. Greenhill was amongst very few English artists able to compete with the popularity and skill of foreign artists and just one month before his premature death, he was still considered one of the most talented portrait painters of the age.
Of all the artists to emerge from the studio of Sir Peter Lely (1618-80) – the dominant artist in England in the late seventeenth century – John Greenhill was, as George Vertue noted, “the most excellent.” He is known to have joined Lely’s studio by 1662, but seems to have left fairly soon afterwards to establish his own practice. Vertue claimed that Lely was jealous of his pupil’s ability. He was commissioned to paint a number of leading figures of the court, including Anne, Duchess of York, and even the King. However, his dissolute lifestyle led to the end of promising career – he died barely into his thirties, after falling into a gutter, drunk, in Long Acre, leaving a wife and young family behind.
SIZE: 37 x 32 inches including the frame.
PROVENANCE: London private collection.
£5,950

Portrait of Sir John Leigh c.1675; Attributed ...

Item Ref
9101

Oil on canvas in a carved gilt wood and composition frame.

This portrait of Sir John Leigh has a very direct feel, the sitter looking out with a level gaze.
Which branch of the Leigh family belongs to the sitter is not known for certain, though it may be the Sir John Leigh of Addington, Surrey, who died in 1737. Addington House was the home of the Leighs from the early 1500s until the death of Sir John when its ownership was disputed in a court of law for 40 years. In the early 1800s it became, after total rebuilding, Addington Palace, as a country home for the Archbishop of Canterbury.

JOHN GREENHILL (c.1644-1676), was an English born portrait painter whose initial training is unknown but who rivalled the leading London artists of the seventeenth century.

The Restoration of King Charles II (1630-85) stimulated an upheaval within the cultural sphere, in particular artistic patronage. Portrait painters such as Sir Peter Lely quickly found favour amongst the highest ranks of society, and as a result many continental artists migrated to England in a bid to win the patronage of the monarch, prosperous courtiers and powerful statesmen. Greenhill was amongst very few English artists able to compete with the popularity and skill of foreign artists and just one month before his premature death, he was still considered one of the most talented portrait painters of the age.

Of all the artists to emerge from the studio of Sir Peter Lely (1618-80) – the dominant artist in England in the late seventeenth century – John Greenhill was, as George Vertue noted, “the most excellent.” He is known to have joined Lely’s studio by 1662, but seems to have left fairly soon afterwards to establish his own practice. Vertue claimed that Lely was jealous of his pupil’s ability. He was commissioned to paint a number of leading figures of the court, including Anne, Duchess of York, and even the King. However, his dissolute lifestyle led to the end of promising career – he died barely into his thirties, after falling into a gutter, drunk, in Long Acre, leaving a wife and young family behind.

SIZE: 36.25 x 31.25 inches including the frame.
PROVENANCE: Deceased London estate related to the sitter. His name is known through a 1950s insurance valuation of this painting and a companion portrait of his wife which was inscribed verso.

£2,985

Portrait of Elizabeth Ogle, Circle of Michael ...

Item Ref
9096

Oil on canvas in a fine carved and giltwood period frame c.1695.
ELIZABETH OGLE, (later Elizabeth Case), baptised 1674, was a member of a notable Lancashire gentry family of ancient origin. This portrait was very probably painted on the occasion of her marriage to Jonathon Case.
A parrot demonstrated the wealth of the sitter able to own such an exotic creature from non-European lands, and it wasn’t just the live birds that were valued, the plucked feathers of parrots were valued too.
Also...curiously...the parrot symbolised virginity. This was probably because of its association with the Virgin Mary in earlier art.

OGLE OF WHISTON. Arms: Argent, a fesse between three crescents gules.

The Ogles appear in Lancashire in the middle of the fifteenth century as stewards of the manor of Prescot. John Ogle, the earliest known, is said to have been a son of Sir Robert, first Lord Ogle, who died in 1469. Early in 1472 John Ogle of Prescot purchased lands in Rainhill from John, son and heir of Hugh Woodfall. Margaret, widow of John Ogle, and Roger their son purchased lands from John Travers, and the family continued to prosper, becoming possessors of the manors of Whiston and Halsnead, the purchaser being John Ogle.

John's son and heir Henry, born about 1586, married in 1610 Elizabeth, daughter of Robert Whitby of Chester, and had by her a numerous offspring. He died about 1649, but does not seem to have taken any part in the Civil War. Two of his sons, however, took arms on the king's side. Cuthbert, the eldest, received a commission from the Earl of Derby, but soon retired, and in 1646 took the National Covenant in London and compounded for his estates by a fine of £120. Henry his brother, holding a similar commission, took part in the defence of Lathom House.

Cuthbert died in 1670, the heir being his son Edward, whose daughter and eventual heir Elizabeth carried the manor to her husband Jonathan Case, of the Red Hazels in Huyton. About the beginning of last century the manor was held by Richard Willis of Halsnead, to whose heirs it has descended; but the hall was then in the possession of John Ashton Case, a Liverpool merchant, great-grandson of the above-named Jonathan.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London. 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'.

SIZE: 44 x 36 inches including the frame.
PROVENANCE: By descent through the family of the sitter. VERSO: old handwritten labels by Mary Radcliffe (bearing incorrect dates) and Thomas Edward Case.
£4,350

William and Mary walnut framed mirror.

Item Ref
9109

William and Mary walnut cushion framed mirror, c.1690 and later.
Lovely golden colour, beautiful walnut end grain veneers with good surface patination. As is often the case, the mirror plate is later.
Although when on the wall this seems an untouched 17th century piece, the back reveals that the veneers have been removed from the original frame and skilfully reapplied to this late 19th or early 20th century one.
Why? Impossible to say, but probably to replace a worm or damp damaged frame.
Nevertheless, this is a beautiful little period mirror offered at a price about a fifth of the usual price.

SIZE: 16.5 x 15 inches.
PROVENANCE: from a collection in a Devon 15th century hall house.
£485

Two pages from a 17th century Bok ...

Item Ref

Mounted and framed, these two pages, from a 1662 Book of Common Prayer, gothic blackletter and illustrated chapter letters, are a very decorative item.
They were discovered behind an 18th century painting.
SIZE: 14 x 15.5 inches framed.
£79

Portrait of James, Duke of Monmouth as ...

Item Ref
9091

Oil on canvas in a modern reproduction frame.

JAMES SCOTT, 1st and last Duke of Monmouth, was born on 9 March 1649 at Rotterdam, The Netherlands. The eldest of Charles II's fourteen illegitimate children, Monmouth was the son of Lucy Walter. He fought in the Second and Third Anglo-Dutch wars gaining a considerable reputation as one of Britain's finest soldiers. He married Anne Scott, Countess of Buccleuch, daughter of Francis Scott, 2nd Earl of Buccleuch and Lady Margaret Leslie, on 20 April 1663 at Earl of Wemyss' house, London, England.
Charming and ambitious, he was put forward as a Protestant candidate for the throne at the time of the 'Popish Plot' in 1678. On his father's death in 1685 he led the 'Monmouth Rebellion', an attempt to take the throne from his uncle, James II. He landed in England with a small Protestant army and issued a declaration in which he accused James of poisoning the late king, usurping the throne and ruling against the law. He was defeated at Sedgemoor and was captured in the New Forest a few days later, and executed in the Tower of London on July 15 1685.

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

SIZE: 36 x 28.75 inches including the frame.
PROVENANCE: London Private Collection.
Note: verso, a pencilled inscription incorrectly names the sitter as John Wilmot, 2nd Earl of Rochester.


£4,950

Portrait of William III, 17th/18th century.

Item Ref
9095

Oil on oak panel in a carved wood and composition frame.

A jewel like object, this rare and enchanting portrait of William III is only 26 inches tall including the frame, and the image itself a mere 10 inches.
The magnificent frame is composed of trophies of arms, as befits the martial prowess of the king; the bottom panel shows a cavalry officer on the battlefield.
Based on a large portrait by Sir Godfrey Kneller, this image shows William in his Garter robes with the Garter emblem of St George on his chest.

WILLIAM III (Also known as William of Orange) 1650 – 1702. Stadtholder of the Netherlands (r.1672-1702) and King of England (r.1689-1702), reigning jointly with Mary II (r.1689-94). He became king after the Glorious Revolution, securing the victory of Parliament and the Protestant cause. In international politics he was in the forefront of opposition to the expansionist ambitions of Louis XIV.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture.

SIZE: 26 inches tall, 18 inches wide. Image 10 inches tall.
PROVENANCE: Private Collection, Devon.

SOLD

A wax portrait bust of James II, ...

Item Ref
9093

Of Jacobite interest, this is a rare item, exquisitely carved, almost certainly after a portrait by Sir Godfrey Kneller.
Dating from the early 18th century, the bust is now mounted within a 19th century gilt and composition glazed box frame.
This is very much the sort of small item, easily concealed if necessary, that supporters of the exiled House of Stuart favoured. Perhaps it is significant that, 40 years ago, it was acquired in Scotland.

It is in the style of DAVID LE MARCHAND (1674-1726) who was famed for his ivory carvings, particularly his portraits. He was a native of Dieppe, France; he was in Edinburgh in 1696, where he is documented as receiving official permission to open a shop and take on apprentices. He was in London by 1700. He is recognised as the most distinguished ivory carver to have worked in England in the early 18th century, a period when the art enjoyed a popularity unknown since the Middle Ages.
Although of wax, not ivory, there is no doubting the great skill of the unknown artist who created this wonderful bust of King James; only 5 inches tall, it is a miniature masterpiece.

SIZE OF FRAMED ITEM: 14 x 12.5 inches. Bust: 5 inches.
PROVENANCE: Wiltshire Private Collection for at least 40 years, after purchase in Scotland.


SOLD