Portrait of Margery Angelo Swynnerton, 1917, by ...

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A fine quality portrait of an attractive young woman, the artist's daughter, painted in 1917 when she was 23; in its original frame. Signed and dated lower right.

FREDERICK SWYNNERTON (1858-1918) was a painter of some distinction. Born in Douglas on the Isle of Man, he was a Fellow of the Society of Antiquaries of London and lectured on Manx prehistoric remains.
He was taught painting first in Rome, where he lived in the ménage kept by his older brother, the sculptor Joseph William Swynnerton and his wife, Annie, the painter and suffragette, who was elected to the Royal Academy. He bought the wall-paintings of the Domus Aurea whilst in Rome; they are now in the British Museum.
He went on to the Académie Julian in Paris and then set out for India, to make a career for himself as a portrait painter. He married the daughter of an Anglo-Italian fencing and soldiering family, Louise Oldfield Angelo, and lived with them in Simla. Louise died in 1941.

Swynnerton painted portraits of many of the important Europeans in India. He died suddenly in Bombay in 1918, the year after he painted this portrait, and is buried at the Sewri Christian Cemetery.

Margery Augustus Angelo Swynnerton, was born in Delhi, Bengal on the 15th August 1894. She died in the UK in 2000. When this portrait was painted in 1917, her father had visited her in Bombay where she was recovering from pneumonia, caught in Iraq, whilst nursing wounded troops. She was also an artist.

SIZE:38 x 31.5 x 2.25 inches including the frame.
PROVENANCE: by direct descent in the family.
Verso: Old storage label for Allen's Depository, Colwyn Bay, and the handwritten name 'Angelo'.


Portrait sketch of Lady Francklin c.1675; Studio ...

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Oil on canvas in a modern frame; the portrait has been conserved, which included lining and new stretchers.

This portrait, a preparatory 'ad vivum' oil sketch for a finished version to be done in the studio, is of great interest. This portrait formed the basis for a more complete portrait now in a private collection in America. Oil sketches were often made ‘from life’ and then taken back to the studio to be worked up. This way copies could be made with ease and the sitters wouldn’t have to sit for too long.
The portrait is interesting on several levels; it is a window into how the fashionable artists of the period coped with the tremendous demand for their work. They established what was almost a production line using several talented assistants, supervised by the Great Man himself. Many of these assistants went on to secure fame and fortune in their own right using the invaluable experience gained in the Master's studio.
It also interesting to note how this rapidly painted portrait has a real vivacity and presence occasionally lacking in some 'over-finished' finished studio products ...this sitter is 'there', on the canvas, as seen with great immediacy, by the artist. it is as if we look directly through his eyes.

The FRANCKLIN family of Bedfordshire. This is an Anglo-Saxon occupational surname meaning “the franklin”, which means “the freeholder”, deriving from the Middle English word frankelein, and earlier the Old French fraunclein. The was a feudal title during the Middle Ages, which generally referred to a person who a freeman and holder of sizeable areas of lands, a gentlemen who ranked above the minor class, but was not as high as a knight or member of the nobility.
The first Bedfordshire Francklin was William Francklin of Thurleigh in the eary/mid 15th century, the youngest son of Robert Francklin of Skipton-in Craven, Yorkshire.
The Francklins of Bedfordshire were significant land owners, and there are memorials to them in the churches of Great Barford and Bolnhurst, among others. They were at Bolnhurst from 1483 to 1944.
Possibly this lady is the one who married Sir William Francklin, knighted in 1675. Further research is required.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.
SIZE: canvas, 53 x 43 cm. Framed, 65 x 55 cm.
PROVENANCE: Private Collection, England.

Portrait Bust of a Renaissance Maiden c.1890 ...

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An extremely beautiful Art Nouveau cold painted terracotta bust of a young woman, possibly Beatrice ...Dante's muse. The sitter's eyes are modestly downcast but her posture is erect and proud. In her headband are set a number of opalines. Opaline is a man-made semi-crystal which is equally beautiful and special like natural crystals. It is a stone of love, compassion, and generosity.
In this sculpture is encapsulated the essence of Art Nouveau.

In 1885, Friedrich Goldscheider came from the Bohemian city of Pilsen to Vienna and founded the Goldscheider Porcelain Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria, with subsidiaries in Paris, Leipzig and Florence. For over half a century, Goldscheider created masterpieces of historical revivalism, Art Nouveau (Jugendstil) and Art Deco.
Famous artists such as Josef Lorenzl, Stefan Dakon, Ida Meisinger and the two perhaps best known Austrian ceramic artists (Michael Powolny and Vally Wieselthier) worked for Goldscheider. Several of the artists who worked for him also worked for other Viennese studios, such as Augarten, Keramos or for the German brands Rosenthal and Meissen. More than 10,000 different models were created over a period of three generations. Since the very beginning, many of these won first prizes and gold medals at innumerable world fairs, exhibitions and trade fairs. Goldscheider figures are nowadays very much sought after by collectors worldwide.
SIZE: 19 inches tall.
CONDITION: Good, original patina, some slight rubbing as is to be expected.
PROVENANCE: Yorkshire Private Collection.
VERSO: Foundry stamp and numbers.

Portrait of Sir James Richardson c.1680, Attributed ...

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Traditionally known as Sir James Richardson, the portrait is in oil on canvas in a fine period oval giltwood frame.
As can be seen to the right of the portrait there is a fragment of a well painted feigned carved stone oval. Clearly this portrait was once rectangular and was a feigned oval before being made into a real one, so this fragment is an interesting footnote to the painting's history.

This is a typically truthful and discerning portrait by Riley.The sitter regards us with the stern and penetrating gaze of a Scottish Laird; he wears extremely costly lace, and his breastplate seems to be inlaid with gold. The armour, depicted so well by the artist, does not necessarily imply a martial career for Sir James, it is there to suggest an ancient aristocratic lineage.
It is likely that this portrait was painted to commemorate his succession to the title in 1680.

SIR JAMES RICHARDSON, 4th Baronet Pencaitland of Pitfour Castle, Co. Perth. He was the son of Sir James, 3rd Baronet and Anne McGill. Married Lady Margaret Kerr, daughter of William Kerr, 1st Earl of Lothian, and Lady Anne Kerr, in 1666. Sir James sold the estate in 1708 and died in 1717.

JOHN RILEY, or Ryley, (1646 – 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy. Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Charles II gave Riley some commissions, and eventually himself sat for him, apparently saying of the result: "Is this like me? Oddsfish, then I'm an ugly fellow!" Riley also painted James II and Mary of Modena, and, on the accession of William III and Mary II, he was appointed Principal Painter in Ordinary, jointly with Sir Godfrey Kneller, though he only survived for three years after this.
Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller.
He was assisted in painting (at least) his draperies and accessories by John Closterman, who finished several of Riley's pictures after his death.

SIZE: canvas 30 x 25 inches. Overall 37x 33 x 2.5 inches.
PROVENANCE: English Private Collection.
Verso; label for Jolly's department store in Bath. Pencil annotation 'over fire drawing room'

Portrait of a Young Gentleman c.1620, Circle ...

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Oil on canvas in a reproduction frame of appropriate type.
This is a very fine quality painting, probably painted by one of the many talented artists who worked in van Miervelt's studio. The depiction of the lace collar is superb, and the features of the sitter are beautifully observed and painted, giving us a real insight into the character of the young man. He looks candidly at us, with a touch of humour to the eyes and mouth. His lace and the gold buttons on his doublet proclaim him as a person of considerable means.

MICHIEL JANSZOON VAN MIEREVELT, often abbreviated as Michiel Jansz. and the surname also spelled Miereveld or Miereveldt, (1566 – 1641) was a Dutch Golden Age painter.
He registered as a member of the Guild of St. Luke in The Hague in 1625. Devoting himself first to still lives, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him. The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious colour, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronised by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.

Many of his pupils and assistants rose to fame. The most gifted of them were Paulus Moreelse, Jan Antonisz. van Ravesteyn, Daniel Mijtens, Anthonie Palamedesz, Johan van Nes, and Hendrick Cornelisz. van Vliet. His sons Pieter (1596–1623) and Jan (died 1633), and his son-in-law Jacob Delff, probably painted many of the pictures which go under his name. His portrait was painted by Anthony van Dyck and engraved by Jacob Delff.

SIZE: 27 x 23.5 x 1.25 inches including the frame.
PROVENANCE:* Formerly the property of the Raymond-Barker family late of Fairford Park, Gloucestershire.
*Gloucestershire Private Collection.
Verso: Framer's label.

!8th century style leather and mahogany wing ...

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A good quality Georgian style wing chair, of excellent line and proportion, with fine colour and patina, on fluted mahogany legs united by stretchers.
This is one of the most comfortable and good-looking chair designs of all time, combining comfort with elegance.
The leather is in good condition with the patina of use. There is a small tear where the left arm joins the back,..see images 4 and 5... hardly noticeable. (I have been the owner of this chair for the last 40 years, using it daily, and it has not worsened in that time.)

DIMENSIONS: Height 44 inches, width 32.5 inches, depth overall 32 inches.
PROVENANCE: *Warwickshire country house collection.
* Since 1979 in the collection of Roy Precious.

Portrait of Mary, Queen of Scots; ...

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Oil on oak panel, 17th/early 18th century in a period frame. The oak panel is very slightly warped, which is not unusual.
This exquisite small portrait, painted with a miniaturist's skill, has a very intimate quality; the sitter's eyes meet the viewer's in a direct and confidential way.
We have sold a number of portraits of this sitter, one in particular, also 17th century, was almost identical. Only when the two images are side by side is one aware of the little differences in the copyist's work.
Painted in the 17th or early 18th century this portrait is in the manner of Clouet in the 1560s. There are several portraits of Mary, Queen of Scots by him which are very similar both in technique and the appearance of the sitter. It is likely that the portrait was painted in the 17th century when the Stuarts, Mary's descendants, were on the throne and Mary's image was revamped from traitor to martyr. Mary had been called an adulteress and traitor by the English and was beheaded for plotting to assassinate her cousin Elizabeth I, but under the Stuarts she was presented as a beautiful and religious princess unjustly executed for her Catholic faith.

FRANCOIS CLOUET (c. 1510 – 22 December 1572), son of Jean Clouet, was a French Renaissance miniaturist and painter, particularly known for his detailed portraits of the French ruling family. His work is remarkable for the elaborate finish of all the details, the extreme accuracy of the drawing, and the exquisite completeness of the whole portrait.

SIZE: 16.5 x 14.25 x 2 inches including the frame.
PROVENANCE: English Private Collection.

Portrait of 'Micky', 1920, by John Young-Hunter ...

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Oil on unlined canvas in a good quality gilded frame.
Inscribed 'Micky' and signed and dated 1920 lower left.
A charming portrait of the young girl 'Micky' painted in 1920, utterly evocative of its period and capturing the relaxed innocence of the child. The artist has used his paint in a very bravura fashion, the broad strokes of the clothing and background providing a contrast to the sensitively rendered face.
Young-Hunter expresses a painterly delight in the use of the medium.
JOHN YOUNG-HUNTER (1874-1955) is known for his society portraits of wealthy British and Americans, and for his Native American portraits and genre scenes of the Southwest. Young-Hunter’s work has a bravura quality and his colours are tastefully planned.
John Young-Hunter was born in Glasgow, Scotland to marine painter, Colin Hunter, and pianist, Isabella Young.
He attended Clifton College and the University of London. At the School of the Royal Academy of Arts in London he won Silver Medals and studied under John Singer Sargent, a close family friend. Lawrence Alma-Tadema was another friend of his parents, and much of Young-Hunter's early work is strongly influenced by the Pre-Raphaelites.
His wife, Mary, whom he met through his studies, also worked in the style. Young Hunter exhibited at the Royal Academy from 1900 to 1913 where his paintings received highly favorable reviews. His work also was shown at the Tate Gallery and the Luxembourg Museum in Paris. He was elected RBA in 1914. He lived at Gifford's Hall, Suffolk.
Young-Hunter had been fascinated with American Indians since attending Buffalo Bill's Wild West Show as a youth in London.
He settled in Taos, New Mexico and became a part of the colony of artists around Mabel Dodge Luhan. He died at Taos on 9 August 1955.
SIZE: 57.5 x 39 inches inc. frame.
PROVENANCE: *Private Collection, Kent.
*With Roy Precious Fine Art. Sold in 2014
*London Private Collection.
Verso: old inventory number 14854.