Double portrait of Elizabeth, Lady Thimbleby and ...

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Double portrait of Elizabeth, Lady Thimbleby and her sister Dorothy, Viscountess Andover, later Countess of Berkshire (1611-1691), with a cupid.
oil on canvas in a giltwood frame.

This is a version of the portrait in the National Gallery, London (NG6437), formerly in the Spencer Collection at Althorp. The subject depicts two of the six daughters of Thomas, 1st Viscount Savage (1586-1635) and his wife Elizabeth Darcy, suo jure Countess Rivers (1581-1650).

Elizabeth married in 1634, while Dorothy married in 1637. In the composition a cupid offers roses to the seated figure, which suggests a marriage is being celebrated. The flowers are fittingly an attribute of St. Dorothy, namesake of the Countess of Andover. Dorothy's marriage had certainly been a love match, as Dorothy had eloped with Charles Howard before actually marrying him.

There is some debate as to the identification of the sisters, as well as the date of the original painting in the National Gallery, London. Recently however Walter Liedtke and Michelle Safer, following the discovery of another studio version of the composition inscribed with the sitters' identities in a private collection in New York, and re-appraising the iconography of the composition, have suggested that the identities are Dorothy standing, whilst it is her younger sister Elizabeth who is the principal figure, seated in yellow. Liedtke and Safer also suggest that the composition in fact celebrates Elizabeth Savage's marriage to Sir John Thimbleby of Irnham (d.1662), on 29 September 1635, and it is now generally accepted that this identification is correct and that the original painting in the National Gallery can be dated to circa 1635.

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: 59 x 66.5 inches including frame.
PROVENANCE: Possibly James Howard, 3rd Earl of Suffolk (1606/7-1688), first cousin of Charles Howard, Viscount Andover, later 2nd Earl of Berkshire (1615-1679), who married Dorothy Savage in 1637. Suffolk married, in 1682 as his third wife, Ann Montagu (circa 1667-1720), daughter of Robert, 3rd Earl of Manchester (1634-1683);
Possibly by inheritance, following Suffolk's death in 1688, to his wife Ann, who returned to live with her family at Kimbolton Castle; Thence by descent in the collection of the Dukes of Manchester, at Kimbolton Castle, Cambridgeshire, to Alexander Montagu, 10th Duke of Manchester (1902-1977); By whom sold, Kimbolton Castle sale on the premises, Knight, Frank & Rutley, 18 July 1949, lot 18 (as a portrait of the Countesses of Rutland and Southampton);
Miss Marjorie Pollard, OBE (1899-1982)
Sold by Phillips 8 October 1982, lot 243, to The Hon. M. Howard of Faith Wood House, Gloucestershire.
Verso: two collection seals and inscriptions.
LITERATURE:Sir Oliver Millar, et al., Van Dyck: a complete catalogue of the paintings, New Haven and London 2004, p. 436;
W. Liedtke and M. Safer, 'Reversing the roles: Van Dyck's portrait of Lady Elizabeth Thimbleby with her sister Dorothy Savage' in The Burlington Magazine, February 2009, vol CLI, no 1271, p. 80.

Portrait of Lady Penelope Herbert c.1640; Studio ...

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Oil on canvas in a magnificent and rare Sunderland, or auricular, frame.
This superb portrait is a period copy of van Dyck's lost original and was with the Dukes of Hamilton for centuries, and latterly in a Private Collection for the last 76 years.

LADY PENELOPE HERBERT, nee Naunton, later Countess of Pembroke. (1620-1647) In 1634 Penelope had married had married Paul, 2nd Viscount Bayning, who died aged 22 in 1638. Penelope, a year alter, married Philip, Lord Herbert, later Viscount Montgomery and Earl of Pembroke.
The Pembroke family were among van Dyck's most important patrons.
Penelope sat for van Dyck on a number of occasions, including for the original of this portrait, which is recorded in an engraving of it by Pierre Lombard for the 'Countesses' series of c.1660. A further version is at Burghley House, painted by Joan Carlisle (1606-1679).
This pose, three quarter length, turning to the viewer, is a characteristic pose employed by Rubens and van Dyck. The elegant hand gesture, as the sitter lightly touches a gauze scarf, features in a number of van Dyck's female portraits.

* Probably James Hamilton, 1st Duke of Hamilton, Hamilton Palace, before 1643, and thence by descent until their sale, Christie's, Hamilton Palace, 17 June 1882, lot 1085 bt. Duncan for £73 10s)
*Collection of Christopher Beckett Dennison, Grosvenor Street, London
*His sale, Christie's, London, 13 June 1885, lot 899
*Private Collection, UK, since 1942.

Hamilton Palace Inventory, circa 1643, no. 294, as 'One peice (sp) of the Lady Herbert to the knees with a scarfe flying over her shouldier (sp), a coppy (sp) after Sr Anthony'.
VERSO: Old inventory label; Hamilton Palace no. 11.

SIZE: including frame: 59 x 48 inches.
Canvas size: 49 x 39.5 inches. (124.8 x 97.7 cm)


Portrait of James Francis Edward Stuart c.1692; ...

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oil on canvas in original carved and giltwood frame.

This is a very rare and important image of Prince James Francis Edward Stuart, Pretender to the English throne. Painted c.1692, when he was four, Studio or Circle of Largilliere who painted the original large family group portrait in 1691. The prince wears a dress as was the custom for boys until they were 'breeeched' at the age of seven.

In an era with no mass communication as we understand it, portraits were power; Henry VIII was the first to really understand this. These Jacobite portraits were essential in maintaining the Stuarts in people's minds; visual propaganda. The implied message was that the Stuarts were merely absent from the country and throne for a while, waiting an inevitable restoration. The frequent Jacobite invasions, plots and rebellions were partly made possible by the fact that people could visualise the princes for whom they risked their lives.

The paintings, mainly miniatures, went to the wealthy, engravings to the less wealthy. Note that the prince wears the blue sash and badge of the Order of the Garter as a statement of legitimacy and right to the throne. The small size of this portrait meant that it could more easily hidden if necessary, as to own it was treason.
This image is based on a large family portrait painted by Largilliere in 1691. It would have been the most up to date likeness of the prince until he was painted again by Largillliere in 1694 when he was six.

When King James II adopted Catholicism, and then had an heir, James Francis Edward, Protestant aristocrats turned to the Protestant William of Orange and his wife Mary Stuart. When William and his army arrived in England King James and his family fled to Catholic France.
King Louis XIV lent the Stuarts a chateau as a temporary residence; they were there for 25 years, and never returned to power.
The young Prince James, later known as the Old Pretender, failed in his invasion of Britain in 1715, as did his son Prince Charles, the Young Pretender, in 1745.

Our thanks to Adam Busiakiewicz, art historian, for his research and help with this portrait.

NICHOLAS DE LARGILLIERE (1656-1746) Largillière left France at the age of eighteen and went to England, where he was befriended and employed by Sir Peter Lely for four years at Windsor, Berkshire.
His painting caught the attention of Charles II, who wished to retain Largillière in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largillière, who left for Paris, where he was well received by the public as a painter.

Upon ascending to the throne in 1685, James II requested Largillière to return to England. James II offered Largillière the office of Keeper of the Royal Collections, but he declined due to his continuing unease about Rye House Plot. However, during a short stay in London, he painted portraits of the King, the Queen Mary of Modena, and the Prince of Wales James Francis Edward Stuart.
In Paris, in 1690, Largillière was documented by the French Academy.
Largillière was appointed as Chancellor of the French Academy in 1743. He died on the 20th March, 1746.

SIZE: 25 x 20.5 inches including frame.
PROVENANCE: In the 19th century, William Smith, M.P. North Lonsdale, Justice of the Peace, Barrister at Law, of Newsham House, Broughton, near Preston, by descent to his son William Bernard Stanislaus Smith, J.P, Barrister at Law, born 1874, married 1902 to Florence Clara Ruby Jay, on his death the portrait passed to his widow who died in Chester, leaving a large estate; then to her Great Niece, from whom came the painting.

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 Charles (Karl) Emil, Prince ...

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Oil on canvas in modern reproduction frame.

Rare and important, this is a superb quality portrait, a free copy by van der Stock after Mijtens, based on a detail of the large portrait of the prince's father and family: Portrait of Frederick William, Great Elector of Brandenburg 1620–1688, with Luise Henriette of Orange and the Princes Karl Emil, Frederick etc. Painted c. 1664/67 by Jan Mytens (Johannes Mijtens).
Various copies of the grandchildren of Amelie van Sohms (the mother of Luise Henriette of Orange) were made from this work. In the inventories of one of Amalia's other daughters, Henriette Catharina, there are many assignments to Paulus van der Stock for copying the work of Mytens from 1664 onwards.

KARL (CHARLES) EMIL, Electoral Prince of Brandenburg (16 February 1655, Berlin – 7 December 1674, Strasbourg) was a German prince as heir-apparent to the Electorate of Brandenburg.

He was the second son of Frederick William, Elector of Brandenburg, and his first son to survive infancy - his elder brother William Henry had died at less than two years old in 1649. Born on his father's thirty-fifth birthday after six years of unsuccessful pregnancies for his mother Countess Luise Henriette of Nassau, he was much hoped-for and was raised to be like his father - spirited, quick-tempered and always in favour of war and the hunt (the most effective way of subduing him was always for his tutor to take away his sword for a few days).

In 1670 he was made colonel of the Regiment Radziwill zu Fuß and four years later he and his father headed the Brandenburg force on its incursion into Alsace during the Franco-Dutch War. The campaign soon became mired into incessant maneuvering with the imperial commander Bournonville afraid or unwilling to give battle. A cold wet autumn arrived, leading to supply and sanitary problems and disease in the Brandenburg army. Charles became ill late in November and at the start of December was sent to Strasbourg to recover. After seven days of a rising fever, he then died of dysentery at the age of 19.

Our thanks to Adam Busiakiewicz, art historian, for research, and to Sabine Craft-Giepmans MA, Head of Fine Arts until 1750 at the RKD - Netherlands Institute of Art History, for the identification of the artist and confirmation of the sitter.

SIZE: 43.5 x 38 inches inc. frame.
PROVENANCE: Many years in a Suffolk farmhouse, unframed and dirty, where identities of sitter and artist were forgotten.


Portrait of Margaret Neville; attributed to Henri ...

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Oil on canvas in a fine carved and giltwood 18th century frame. Traditionally called Margaret Brooke, nee Neville, it seems more likely that the sitter was perhaps a daughter of Margaret. Margaret was born in 1618 and died in 1673. Her clothes, hairstyle and the working life of the artist Henri Gascars do not fit these dates; this portrait was painted c1680.
Lower left, the later inscription, 'Margaret Brooke Wife to/Thomas Brooke Esqr. and/Daughter of Sir Thomas Neville KB./eldest son of Henery 7th Ld/Abergavenny'

Margaret Neville was the daughter of Sir Thomas Neville KB, and married Thomas Brooke Esq.
In this delightful portrait, probably painted for a betrothal, the sitter holds flowers (peonies, which signify sincerity) and with a number of them in her lap. These latter signify her youth and future fruitfulness...the prime task of any aristocratic wife was to bear children, preferably a male heir. In her hair are some jasmine flowers, signifying aimiability of character.

HENRI GASCAR (1635 – 1701) (also Gascard, Gascars) was a French-born portrait painter who achieved artistic success in England during the reign of Charles II.
He painted many leading ladies at court, including several of the King's mistresses.
Gascar came to England about 1674, probably at the behest of Louise de Keroualle, Duchess of Portsmouth, Charles II's favourite mistress at that time. Gascar (or Gascard, as he seems to have spelt his name at first) was already known as a skilful portrait-painter.

His flamboyant style, contrasting with the stolid English approach, seemed to suit the frivolity of the time and he painted many of the ladies of Charles II's court. His lack of attention to detail in the likeness he made up for by the sumptuous draperies and adornments around the subject.

SIZE:57 x 47 inches inc. frame.

PROVENANCE: Linley Hall Collection.
Probably by descent to Catherine Smitherman and by descent to her daughter Catherine Edwardes and by descent to;
Sir Henry Hope Edwardes Baronet, of Wootton Hall, Derbyshire, and by descent to;
Colonel Herbert James Hope Edwardes, Netley Hall, Shropshire, and by descent to;
Lady More (nee Hope Edwardes, formerly Coldwell), Netley Hall, and subsequently Linley Hall, Shropshire, and by descent to;
the Late Sir Jasper and Lady More, Linley Hall.
After Lady More died in 1994, the house and collection were left to her her cousin and godson, who has now sold the house and dispersed the collection.
(The Edwardes family can trace their ancestry to the princes of Powys, the More family to the 13th century).

LITERATURE: Illustrated in situ in a photograph of the drawing room, Netley Hall c.1905, and subsequently at Linley Hall, c.1960.
T.Cox, Inventory of the contents of Netley Hall, Shropshire, 1917, page 4 (drawing room).


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 H.M.S Royal Adelaide 1837; Attributed ...

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Oil on canvas in a gilt frame.

Bears signature and date 1837, oil on canvas.

The first rate warship Royal Adelaide was laid down in Plymouth Dockyard as the London in May 1819. A larger version of Nelson's Victory, she displaced 4,122 tons, measured 198 feet in length with a 54 foot beam, and mounted 104 guns on three decks.
She was one of the earliest Royal Navy ships to have planking right round the bow at the height of the forecastle. However attempts to strengthen the stern in a similar way meant depriving the officers of their large windows and glass doors and met with indignant opposition. They objected to being deprived of their comfort, so the windows and glass doors remained open to devastating broadsides from astern.
Originally called HMS London she was nine years on the stocks before being launched on 28th July 1828 in the presence of the Lord High Admiral, the Duke of Clarence (later King William IV), as HMS London, she was christened by his Duchess and immediately renamed HMS Royal Adelaide in honour of the future Queen Adelaide.
Spending most of her career as Port Admiral's flagship at Plymouth, she was transferred to Chatham in 1891, where she served as Receiving Ship until 1904, and was finally broken up at Dunkirk in 1905.

JOSEPH WALTER (1783–1856) was an English marine painter in oils and watercolour, working at Bristol and Portishead. He gained notice for his portrayals of Brunel's steamships Great Western and Great Britain.

Walter was born in Bristol and died there, but was living in Portishead at the time that he exhibited his first known work, 'View from Portishead towards Wales' (1832). This was at the Bristol Institution in 1832, in the first exhibition of the Bristol Society of Artists. He is not known to have been associated with the Bristol School of artists in the 1820s. However surviving sketches suggest that he did take part in the revival of the school's sketching meetings in the 1830s. His drawing technique shows similarities to that of the leading Bristol School artist Samuel Jackson.

Walter's subjects included shipping at Bristol, Southampton, Malta and Saint Lucia. He also portrayed Dutch vessels in the style of the Dutch artists Van de Velde and son, for example in Dutch vessels in a fresh breeze (c. 1851). He exhibited at the Royal Academy from 1837, and also at the Society of British Artists.

SIZE: 32.5 x 44 inches inc. frame.
PROVENANCE:*London, Sotheby's, 5th December 1923, lot 139 as by J. Walter, from the Maude Collection.
*Bought by the previous owner's father in the late 60s from a dealer as an autograph work.

Verso: a 1986 restorer's label. (The painting was conserved by our restorer in December 2015)

Our thanks to Michael Naxton for his expertise.

Portrait of James FitzJames, Duke of Berwick ...

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Oil on canvas in a fine quality carved and giltwood reproduction 17th century frame.

JAMES FITZJAMES, 1st Duke of Berwick, 1st Duke of Fitz-James, 1st Duke of Liria and Jérica (21 August 1670 – 12 June 1734) was an Anglo-French military leader, illegitimate son of King James II of England by Arabella Churchill, sister of the 1st Duke of Marlborough.
His father was a recent convert to Catholicism and Fitzjames was schooled at a succession of Catholic colleges in France between 1677 and 1686. After his education he shuttled between Britain and the armies of the Holy Roman Emperor Leopold I, fighting in what is now Hungary and Austria.

Following his father’s accession to the throne, Fitzjames was made Duke of Berwick upon Tweed, and appointed Colonel of the 8th Regiment of Foot and the Royal Horse Guards. When Prince William of Orange landed in 1688 to seize the English throne, the 18-year-old Berwick fled to France, seeking refuge at the royal court of King Louis XIV.

Berwick served in James II’s unsuccessful campaign in Ireland, commanding the cavalry on the Jacobite right wing at the Battle of the Boyne in 1690. He took temporary overall command of the Jacobite force until being recalled to France in January 1691. Berwick volunteered for service in the French campaign in the Low Countries, but was captured at Landen in 1693 by another of his uncles, George Churchill. In 1696, after his release from captivity, he secretly visited England for a week to foment a rising against William III.

After his first wife’s death, Berwick spent time touring Italy in 1698. He married again in 1700 and became a naturalised French subject in 1703. Berwick was appointed commander of the French force sent to Spain to assist Louis XIV’s grandson, Philip V. On his arrival in Spain in 1704, he was also made captain-general of Spain’s army and a Knight of the Order of the Golden Fleece.

In 1706 Berwick was made a Marshal of France and sent to Spain again, retaking Madrid and Lerida and inflicting a crushing defeat on Galway’s force at Almanza on the Spanish coast. A French cavalry assault destroyed or captured all but 5,000 of Galway’s 22,000-strong force. Philip V rewarded Berwick with two Spanish dukedoms before he left Spain to campaign in northern France.
Berwick found it difficult to co-operate with the French general Vendome and in 1709 he shifted theatre again, this time to France’s border with Piedmont and then to Flanders and Spain once again. In 1715 James II’s legitimate son, James Stuart, the ‘Old Pretender’, landed in Scotland, triggering the First Jacobite Rebellion. He appointed Berwick Captain-General of the Jacobite forces in Scotland. However, the French King forbade Berwick from taking up the post. Berwick campaigned one last time in Spain in 1719 but had largely fallen from favour in both the French and Jacobite courts. His final command was of the French forces sent across the Rhine in October 1733. Inspecting the siege works at Philippsburg, he was killed by a cannon ball on 12 June 1734.

JOHN MICHAEL WRIGHT (May 1617 – July 1694) Described variously as English and Scottish, Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II. In the final years of the Stuart monarchy he returned to Rome.

SIZE: 50.5 x 41 inches inc. frame
PROVENANCE: *Collection of James H. Van Alen, New York.
*Private Collection, England.


Portrait of Elizabeth Cockayne c.1670; by Mary ...

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Oil on canvas in an 18th century Georgian giltwood frame.

This is a beautiful portrait painted with the insight and sensitivity that typifies the best of Beale's female portraits, coupled here with a pensive sensuality.
The sitter is depicted within a feigned carved stone oval, much used by Sir Peter Lely, and which Beale used so often as to be almost a signature.

A label on the frame identifies the sitter as Elizabeth Cockayne (1609 -1688), the second wife of Thomas, 1st Viscount Fanshawe K.B.
However, this is not possible as the sitter's hair and clothes announce a date of the 1670s.

It is extremely probable that this is another Elizabeth Cockayne (1649-1739), nee Cust, daughter of Sir Richard Cust, 1st Baronet (1622-1700) and Beatrice Pury (1623-1715), who married John Cockayne of Cockayne Hatley, Bedfordshire in 1670 which, after the death of their only son Samuel in 1745, passed successively to cadet members of the Cust family, who incorporated the name Cockayne into their own. They had two children; Elizabeth 'Betty' Cockayne (1674017360 and Samuel (d.1745).
The marriage date also fits well with the date of the painting and it could well have been executed to commemorate that event. Elizabeth wears little jewellery, merely fashionable pearls, which also signify virtue and purity, appropriate for such a portrait.
Her clothing, influenced by Classical Roman fashion, was believed to 'elevate the sitter' and give a timeless classic feel to the image.

The portrait came from the Fanshawe family, but not by ancient descent; it was bought at auction in the 1950s by the previous owner's grandfather.
This confusion of identities when many families used the same first names many times is quite commonplace.

MARY BEALE (1633-1699) was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.

She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street. Mary Beale was not the only female painter in England, but her name alone has survived as that of the only woman to make a successful living, and to enjoy a flourishing practice as a portraitist.
She became reacquainted with Sir Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits. He was Beale’s strongest artistic supporter. The friendship between Lely and Mary Beale enabled her, famously, to observe the master in the act of painting – a remarkable privilege – in order to study his technique. It is perhaps not surprising, therefore, that many of her portraits have been misattributed to Lely or his Studio .She was widely reckoned to be Van Dyck's most accomplished copyist. Her grasp of Lely's colouring is evident, but the pleasant and direct manner in which she treats her sitters is entirely her own.

SIZE: 33 x 29 inches inc. frame.
PROVENANCE: For the last 60 years or so by descent in the Fanshawe family. With the portrait comes an extensive family tree for the Fanshawes, which shows their 17th century relationship to the Cockayne family.


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Oil on canvas in a good 18th century William Kent frame.
The Duchess sits beside an orange tree and holds one of its flowers.
Oranges were an expensive luxury in Northern Europe, coming as they did from the warm South. They also has considerable symbolic significance.
The orange tree bears leaves, flowers and fruit all at the same time. The leaves, which are evergreen, are the symbol of eternal love, the white flowers represent purity and generosity of spirit and the fruit represents hope for the future of a family or dynasty.
In the upper left of the portrait is depicted the coat of arms for the Spencer-Churchill family.
The Hon. ELIZABETH TREVOR, DUCHESS OF MARLBOROUGH, was the daughter of the Thomas Trevor, second Baron Trevor of Bromham and wife of Charles Spencer, fifth Earl of Sunderland and third Duke of Marlborough.
Charles Spencer, 3rd Duke of Marlborough KG, PC (1706 – 1758), known as The Earl of Sunderland between 1729 and 1733.
He was a British soldier and politician. He briefly served as Lord Privy Seal in 1755. He led British forces during the Raid on St Malo in 1758.
He was the second son of Charles Spencer, 3rd Earl of Sunderland and Lady Anne Churchill, the second daughter of John Churchill, 1st Duke of Marlborough and his wife Sarah Churchill, Duchess of Marlborough.
Charles inherited the Sunderland title from his older brother in 1729, becoming 5th Earl of Sunderland, and then the Marlborough title from his aunt, Henrietta, 2nd Duchess of Marlborough in 1733.
He was one of the original governors of London's Foundling Hospital, the foundation of which in 1739 marked a watershed in British child care advocacy and attitudes.
The Duke and Duchess had five children:
Lady Diana Spencer (1734–1808). Married first Frederick St John, 2nd Viscount Bolingbroke and secondly Topham Beauclerk.
Elizabeth Herbert, Countess of Pembroke and Montgomery (January/March 1737 – 30 April 1831). Married Henry Herbert, 10th Earl of Pembroke.
George Spencer, 4th Duke of Marlborough (26 January 1739 – 29 January 1817).
Lord Charles Spencer (31 March 1740 – 16 June 1820).
Lord Robert Spencer (3 May 1747 – 23 June 1831)
MARIA VERELST (1680-1744)was arguably the greatest female immigrant artist of the late Stuart/early Georgian era, she was the daughter of Dutch painter Herman Verelst (1641-1690) and niece of the more well-known Stuart court painter Simon Verelst (1644-1710). Maria moved to England at the age of three with her father following the siege of Vienna by the Ottoman Empire and, following her father’s success, later became his student. Well-connected and highly skilled, Maria established herself quickly and her earliest recorded painting dates to c. 1695, painted when Maria was fourteen, and depicts William Wentworth, 2nd Earl of Strafford (1626-1695) [Welbeck Abbey]. Maria painted several works for Welbeck as well as thirteen portraits for James Brydges, 1st Duke of Chandos.
In addition to being a talented painter, Maria was also well educated and spoke a number of different languages which no doubt helped her secure patronage.
SIZE: 60 x 50.75 inches inc. frame.
PROVENANCE: Cheshire Family Private Collection for many years.
With Roy Precious Fine Art.
Collection of a Fellow of a Cambridge College.

Portrait of the Orbach and des Salles ...

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Oil on canvas, in a fine 17th century carved and gitwood leaf and berry frame with a rope twist sight.

Portrait of the Orbach and des Salles children - Gaston and Heloise des Salles, Donald and John Orbach
signed upper left "Joseph Oppenheimer".

JOSEPH OPPENHEIMER (German, 1876-1966) was born in Wurzburg, Germany in 1876. He studied at Munich Academy before travelling to Rome, Naples, London and the USA. By 1896 he had settled in London with a studio at the Pheasantry on the Kings Road, Chelsea. He taught at the London School of Arts.

In 1908 he moved to Berlin with his wife although they returned to England each year. Here he was influenced by the development of Expressionism and the Berlin Secession, an art association founded in 1898 by Berlin artists including Max Liebermann, Kathe Kollwitz and the Vienna Secession with Gustav Klimt.

By this time Oppenheimer was becoming increasingly well-known for his portraits, painting Einstein in 1931. He exhibited at the Royal Academy of Arts and Royal Society of Portrait Painters (later becoming a member).

Both in England and in Germany Joseph Oppenheimer became more and more renowned for his paintings and especially his portraits, Famous men and women, and especially beautiful ladies from High Society throughout Europe, but especially in Germany and England, lined up to be painted. Many of his most successful works graced the covers of the ladies' magazines in both countries. He exhibited at the Royal Academy and at the Royal Society of Portrait Painters, becoming a member of the latter, allowing him to use R.P. after his name (he was offered Doctorates many times and even a Professorship, but refused them all).

Much of Oppenheimer’s portraiture fame came from his unique style of combining close observation and faithful reproduction of a sitter’s features with a looser, more impressionistic approach to the treatment of the model’s clothing and of the background in an exciting and vigorous impasto.

In 1933, with the rise of Hitler, the Oppenheimers moved back to England and by obtaining British Citizenship he managed to bring his mother and brother to England in 1936. They became British citizens in that year, having been sponsored by the equerry of King George VI, Sir Louis Greig, and a famous British artist, Sir John Lavery. Here he continued as a portrait artist with notable commissions from Yehudi Menuhin, Deborrah Kerr and James Mason. From 1949 he divided his time between London and Canada where his daughter, the artist Eva Prager, lived.

The expressionistic handling of his work can be seen in this family portrait, and similarly in the portrait of "Susanne and Ilse Gottschalk" on display at the Victoria and Albert Museum of Childhood, London. HIs work is also in the National Portrait Gallery and the Oppenheimer-Prager Museum in New Brunswick, Canada is dedicated to his work and that of his daughter.

The Orbach family were close friends of Oppenheimer who painted them on several occasions. There is a portrait of Vera Orbach, painted in 1923, in the Oppenheimer-Prager Museum in Canada. The sitters in this charming portrait are Vera Orbach's two children from her first marriage, Gaston and Heloise des Salles, Donald Orbach, the son of George Orbach from his first marriage and John Orbach, only son of Vera and George Orbach. John, the tallest boy in the portrait, would not stand still for long enough and had to be painted from memory and sketches.

SIZE: 64.5 x54.5 inches inc. frame.
PROVENANCE: Commissioned by the children's parents, George and Vera Orbach, thence by descent

Double portrait of two boys c.1740; Follower ...

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Oil on canvas in period carved and giltwood frame.

This charming double portrait is full of symbolism easily understood by the 18th century viewer; it depicts two brothers in the mythological land of Arcady or Arcadia. For some time it had been very fashionable, for adults as well as children, to be depicted as shepherds.
The lambs are a traditional symbol of innocence and virtue, in which guise they fit perfectly into Arcadia, the land from which all guilt and sin have been banished.
The dog represents loyalty and obedience, character traits considered desirable in the young.
The bird represents the transience of life, and especially youth, as it can easily fly away.
As guardian of the flock, the older brother holds the shepherd's crook and his arms are protectively around the younger boy.

The artist is an unknown provincial; although he has been influenced by the fashionable portrait painter Charles Jervas his style has a direct, rather naive quality which has great appeal. Double portraits of children are most uncommon and this one pleases in several ways .. not least in the amusing depiction of the fluffy lambs!

CHARLES JERVAS (c. 1675 - 1739) was an Irish portrait painter, translator, and art collector.
Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.
Painting portraits of the city's intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James's, which Pope mentions in his poem, 'To Belinda on the Rape of the Lock', written 1713, published 1717 in 'Poems on Several Occasions'.
With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739.

SIZE:50.5 x 41.75 inches inc. frame
PROVENANCE: For many years the property of a noted collector in Bath, Somerset.
With Roy Precious Fine Art.
Collection of a Fellow of a Cambridge College.

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 a Lady, possibly Barbara Villiers, ...

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Oil on canvas in a carved and giltwood frame.

A beautiful portrait of a beautiful young woman; she regards us with a coolly provocative look. Her hand, raised to her head, was the acknowledged symbol for thought and consideration, especially of a fashionable 'melancholy' type. Melancholia was considered the sign of a sensitive, intelligent and poetic nature.
This was a pose much used by Lely; he painted Barbara Villiers, Countess of Castlemaine, Duchess of Cleveland and long term mistress of Charles II in similar poses several times, only the position of the head is different. See Image 5, painted in 1662 when Barbara was 22 years old, where she wears exactly the same clothes and jewellery as in this painting.

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:54 x 44 inches inc. frame.
PROVENANCE:Old English Collection.


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A fine quality oil on canvas in original carved and giltwood frame.
This charming portrait depicts a young aristocrat wearing the fashionable 'banyan' or loose robe favoured for relaxation at that time. Equally fashionable was the ostrich feather trimmed tricorne hat and the cravat tied 'a la Steinkirk'.
(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the lace of fringed ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)
The boy stands on a stately terrace with an Italianate garden behind him; the beautifully painted Spaniel playfully crouching at his feet was probably a pet but is also a symbol of fidelity and trust.
CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.
D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
This portrait is strongly reminiscent of a portrait of Lord George Douglas in the collection of the Dukes of Buccleuch, which was painted in 1709. Payment of £16 2s 6d was paid for this.

SIZE: 58 x 49 inches inc. frame.
PROVENANCE: a country house collection in the South West of England.
With Roy Precious Fine Art.
Collection of a Fellow of a Cambridge College.

Portrait said to be of Sarah Wilson ...

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Oil on canvas in an excellent 18th century carved and giltwood frame.
Inscribed lower right 'Sarah Wilson'. The sitter depicted within a feigned oval.

This is a fine quality portrait and is typical of Ramsay's work in the mid 18th century; as usual, the fabrics are so well painted one can almost 'feel' them. Ramsay often employed the famous specialist drapery painter Joseph van Aken.
The frame is a work of art in its own right, beautifully carved by a master craftsman.

The later inscription claims the sitter to be Sarah Wilson, by repute the daughter of Christopher Wilson and heiress of Bradyll Dodding (1689-1748) of Conishead Priory, Cumbria. She married John Gale of Highcap Castle and had three children - Thomas Richmond Gale, Henry Richmond Gale and Margaret Gale.
Her sister Mary married into the Wharton family.

ALLAN RAMSAY 1713–1784.
Ramsay was born in Edinburgh. His father, also Allan Ramsay, was an important Scottish poet from whom the younger Ramsay inherited a tradition of strong nationalistic pride. Ramsay junior was instrumental in formulating a native Scottish style of painting, as his father had done for poetry.
Ramsay studied in London at St Martin's Lane Academy and at Hans Hysing's studio, before going to Italy. He worked from 1736 to 1738 at the French Academy in Rome under Francesco Imperiali and under Francesco Solimena in Naples. On his return he settled in London, although he continued to be active in Edinburgh. Between 1754 and 1757 he was in Italy, mostly in Rome. He was elected a Fellow of the Society of Antiquaries in 1743. During his prime period he had a virtual monopoly on court painting. He became the official painter to George III in 1760, and Principal Painter-in-Ordinary in 1767. His assistants included David Martin, Alexander Nasmyth and Philip Reinagle.

SIZE: 37.5 x 32 inches including the frame.
PROVENANCE: Deceased estate of a former Derby solicitor, who owned the portrait for 40 years.
VERSO: Old trade label of Aiken Dottson, Castle Street, Edinburgh.

Portrait of an Officer, c.1725, by William ...

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Oil on canvas in a fine carved and giltwood period frame.
An excellent portrait of an officer, in a pose much favoured for military men at this time.
(We also have in stock a portrait by Kneller of an older officer in a very similar pose.)
It is typical of Aikman that we have a real sense of the sitter as an individual, not just as 'An Officer'. Despite the fortress in the background, the breastplate and sword the sitter conveys a relaxed informal air, he has a slight smile and wears s velvet coat rather than the usual broadcloth favoured
by the military. A rather intimate, human, touch is how Aikman has shown the slight stubble on the sitter's head where his head has been shaved to let his wig sit more easily.

WILLIAM AIKMAN (1682-1731) was a Scottish portrait painter, only son of the Laird of Cairney, Forfar where he was born. He developed a passion for painting and studied under Medina, sold the family estate and went to Rome in 1707 for three years.
He settled in Edinburgh in 1712 and was an excellent taker of likenesses, the best Edinburgh portraitist of his time, painting most of the nobility, gentry and lawyers.
In 1723, encouraged by the Duke of Argyll, he moved to London where he was not only patronised by Scots, but became well known in literary circles and the friend of Pope, Gray, Thomson and others. He is buried in Grey Friars Church, Edinburgh.

This painting is a good example of Aikman's accomplished mature style when he was emulating Sir Godfrey Kneller, Principal Painter to the King, in the hope of succeeding him.

SIZE: 57 x 48 x 3.5 inches including frame.
PROVENANCE: Many years in an East Yorkshire deceased estate, where it was always inventoried as by Dahl.

Our thanks to Dr Bendor Grosvenor, art historian, for the attribution to William Aikman.

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 Lady Mary Villiers 17th c., ...

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

LADY MARY VILLIERS, Lady Herbert and later Duchess of Lennox and Richmond (1622 – 1685), as St Agnes, after Sir Anthony Van Dyck (1599-1641).

The original portrait by Sir Anthony van Dyck is life size and in the Royal Collection. "A number of copies of this portrait survive, some indicating that the original version was once larger in size." quote from'Van Dyck in Britain', edited by Karen Sharpe, published by the Tate.
This is one of those, and the sitter fits within the composition much more comfortably than the now tightly cropped original.

The original painting, in the Royal Collection, Windsor, was presumably painted for Charles I, who gave the sitter away at her wedding in 1637 to the Duke of Lennox. She is shown as St Agnes, the patroness of those engaged to be married.
St Agnes is usually accompanied by a lamb, because of the similarity of her name to the Latin agnus, a lamb, but actually ‘Agnes’ comes from the Greek word for ‘chaste’.

Lady Mary Villiers was the daughter of 1st Duke of Buckingham and Katherine Manners and, raised with the royal children, she was a favourite of James I and Charles I. She was married three times.
In 1626 she was betrothed to Charles Herbert, son of Philip, who subsequently succeeded as 4th Earl of Pembroke. They were married on 8 January 1635, but Herbert died a year later, leaving a 13 year-old widow. Her second marriage was to James Stuart, Duke of Lennox (afterwards Duke of Richmond), a cousin of Charles I, on 3 August 1637. Whilst living at King Charles I exiled court at Oxford between 1643 and 1645, Mary was rumoured to have had an affair with Prince Rupert of the Rhine.
The Duke of Richmond died in 1655, and Mary left for the exiled Royalist community in Paris. After the Restoration she returned to the English Court and became Lady of the Bedchamber to the dowager Queen, Henrietta Maria. In 1664 she was married to Colonel Thomas Howard (d. 1678), brother of 1st Earl of Carlisle.

As Duchess of Richmond, and later as the wife of Colonel Howard, Lady Mary was a prominent figure at Court after the Restoration. Several poems by the anonymous Stuart poetess known as Ephelia (whose works were published in 1679 as ''Female Poems... by Ephelia'') were dedicated to her, and it has been established in the last decade by Maureen Mulvihill of the Princeton Research Forum that Ephelia was in fact Lady Mary herself. This poetess produced an intriguing set of texts, some privately-printed, being bold political broadsheets against the Popish Plot and the rising of James, Duke of Monmouth, as well as amusing coterie verse, songs, a collection of female poems, amorous verse-letters, and ‘a damn'd play’, evidently a farce-burlesque on the debauched private lives of Charles II and his brother, James, Duke of York. This new identification suggests that Lady Mary Villiers was the most highly-placed, publishing woman writer of the Stuart period.
She died in 1685 and was buried in Westminster Abbey.

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.
Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE: 36 x 31 inches inc. frame.
PROVENANCE: Old Collection, Gloucestershire country house.

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 Letitia Hall, c1775, by George ...

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Oil on canvas in a good period William Kent carved and giltwood frame..

This is an extremely fine quality portrait and an excellent example of Knapton's best work.

LETITIA HALL married Charles Hewitt (born 1742) in 1775, probably when this portrait was commissioned. The union produced six children, one of whom died in infancy. The Hewitts are an ancient family, and the family tree that accompanies this portrait traces their ancestry back to the 1200s, and then, rather more sketchily (and perhaps hopefully) to Charlemagne the Great in the 8th century.

GEORGE KNAPTON (1698–1778) was an English portrait painter, he was born in Christchurch, Hampshire, the son of William Knapton Esquire of Brockenhurst, Hampshire. He studied art under Jonathan Richardson, then at the St. Martin's Lane Academy. He spent some years in Italy where he became known as a sound judge of the works of the Old Masters. An account of his visit to Herculaneum was published in the "Philosophical Transactions" of 1740 (no. 458).

Knapton was an original member of the "Society of Dilettanti" and their first portrait artist. He painted many members of the society, including the Duke of Dorset, Viscount Galway, Sir Francis Dashwood, the Earl of Holdernesse, Earl of Bessborough and Sir Bourchier Wray. Knapton resigned his position at the society in 1763.

In 1750, the then Prince of Wales commissioned Knapton, together with George Vertue, to produce a catalogue of the pictures at Kensington Palace, Hampton Court and Windsor Castle. In 1765, he succeeded Stephen Slaughter as Surveyor and Keeper of the King's Pictures; he was also in charge of Lord Spencer's collection at Althorp, Northamptonshire.

SIZE: 39 x 33.5 x 2 inches inc. frame.
PROVENANCE: By direct descent through the family.

Portrait of a Lady within a garland ...

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Oil on canvas in a period frame.

A fine portrait of a young lady surrounded by flowers, symbolising her youth, beauty and future fruitfulness; but also a warning, flowers and youth are fleeting things.
As this portrait would have been painted in Rome, and came latterly from the Hotel de la Ville there, it is likely to have been in Rome all its life until now.

JAKOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century.
He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture.
Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Certain Englishmen who visited Rome on their Grand Tour, also commissioned Voet to paint their portraits. Voet specialized in half-length portraits, he was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have a reflective expression. Usually they have very striking, memorable eyes, always large and evocative.

SIZE: 49 x 42 inches inc. frame.
PROVENANCE: Hotel de la Ville, Rome. (Image 5) Part of Rome's elite social scene since 1925, originally a 17th century monastery, situated near the top of the Spanish steps. Many famous people stayed here, such as Federico Fellini, Marlon Brando, Sean Connery and Brigitte Bardot, to name but a few.
This portrait, and its companion, also on this website, hung in the Restaurant.