SOLD...Portrait of a Lady c.1710; English School ...

Item Ref

Oil on canvas in Victorian giltwood frame.

An English School painting showing strong signs of the influence of Sir Godfrey Kneller, Painter to the Royal Court and the most fashionable artist of his time.
This provincial portrait was probably painted by one of the many itinerant artists of the early 18th century who went from town to village painting the local lesser gentry and prosperous tradespeople.
Clearly this unknown artist was aware of Kneller's style and that the feigned oval was the height of fashion.
Although this artist did not have a great talent, this is a very pleasing slightly naive portrait and redolent of its period.

SIZE: 30 x 25 inches canvas
37.5 x 32.5 inc. frame
PROVENANCE: By descent in a Berkshire family.

Portrait of a Gentleman c.1740: Attributed to ...

Item Ref

Oil on canvas in a good quality original giltwood period frame.

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

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

Although Highmore’s style first followed that of Kneller (as did whole generations of early eighteenth century artists), he also assumed the more forceful and realistic characterisation of Hogarth. As a result, Highmore’s portraits soon lost much of the Augustan stiffness of Kneller, instead showing a more subtle and fluid construction. This portrait of the 1740s demonstrates a further evolution of Highmore’s style following his trip to France in 1734. Like many of his contemporaries, such as Hayman and later Gainsborough, Highmore was heavily influenced by the French rococo manner first popularized by the influential French painter and engraver Hubert Gravelot, who arrived in London in 1732.

SIZE:30 x 25 inches canvas.
37 x 32 inches framed.
PROVENANCE: Yorkshire Private Collection.

Portrait of a Young Boy with a ...

Item Ref

Oil on canvas in giltwood period frame.

Painted within a feigned oval, the young boy looks confidentally out at the viewer, standing with relaxed hand on his hip, the other on his dog.
Although the animal was probably his pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.

The artist is an unknown provincial; although he has been influenced somewhat by the fashionable portrait painter Charles Jervas his style has a direct, slightly naive quality which has great appeal.

SIZE: 34.5 x 30 inches inc. frame.
PROVENANCE: Private Collection, Lincolnshire.

Portrait of a Lady of the Chaworth-Musters ...

Item Ref

Oil on canvas in a fine quality period carved and giltwood frame (some slight damages to frame).

The sitter is probably a member of the Chaworth-Musters family (?Elizabeth Chaworth, nee Pole of Heage, Derbyshire, wife of Patricius Chaworth c.1673-1719?) of Annesley Hall and Park, their ancestral home for 350 years.
It remained in the hands of the Chaworth-Musters family until sold by Major Robert Patricius Chaworth-Musters in 1972. Unfortunately the hall suffered a fire in 1997 which caused damage to the structure and it has not been lived in since. The hall is now in private ownership, in very poor condition and not open to the public.(Image 5)

The Chaworth family were descendents of the Chaources family, of Maine in northern France, who came to Britain at the time of the Norman Conquest. The Annesley line can trace their descent to two brothers. Patricius Chaworth married the heiress of Ogmore and Kidwelly, South Wales. His brother Robert de Chaworth settled in Nottinghamshire and married the daughter of William de Walchiville, Lord of Marnham, in the time of Henry I (1100-1135). He became the ancestor of the Chaworth family later of Annesley.

SIZE: 39 x 33 inches inc.frame.
PROVENANCE:House sale of Annesley Hall and Park, Nottinghamshire by the then owner Major Robert Patricius Chaworth-Musters (1923-1992) 21 March 1973, lot 1088, where bought by Christopher Hogwood CBE (1941-2014).

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.

SOLD....Portrait of Samuel Tufnell (1682-1758); English School, ...

Item Ref

An interesting portrait of Samuel Tufnell, an early Georgian country gentleman. This portrait comes with a copy of the book "Samuel Tufnell of Langleys 1682-1758; the Life and Times of an Essex Squire" by Francis W. Steer.

"At Great Waltham in the centre of Essex is the mellow brick mansion of Langleys where, over the dining room fireplace hangs the portrait of a grave-faced boy in a red coat. Two miles away, at Pleshey - a place known to all readers of Shakespeare - is a massive marble monument with the bust of an old man who died full of years and achievements.
The boy and the man are one. The portrait and the bust are both of Samuel Tufnell who bought Langleys and made it into the stately home we see today.
As a landowner, he took no small part in the affairs of the county of his adoption; he served his country too in positions requiring tact and shrewd judgement.
The object of this book is to give a picture of the life and times of a country gentleman during the first half of the eighteenth century, the period of William of Orange, Queen Anne, and the first two Georges."

So begins this illuminating insight into a way of life long gone, which with the portrait, makes us feel we really know the man and his times.

The portrait itself is a good, honest, no-nonsense image of the sitter...he looks directly and frankly at the viewer. The unknown artist was clearly influenced by the work of Joseph Highmore (1692 – 1780), an artist very fashionable with the gentry at this time.
The frame is a good example of 18th century carved giltwood.

SIZE: 36 x 30.5 inches inc. frame.
PROVENANCE: Sir Robert Wilmot Horton.
Yorkshire Private Collection.

Verso, Victorian Gothic script label: "Painting of Samuel Tufnell, esquire, of Langleys, married Elizabeth, daughter of George Cressener. The property of Sir Robert Wilmot-Horton; Artist J. Highmore."

(It has been suggested by a member of the family that this may not be Samuel Tufnell, but his grandson, also called Samuel Tufnell, who married the daughter of Wilmot-Horton).

See image 5 for Langleys as it is today.


Portrait of a Gentleman c.1670; attributed to ...

Item Ref

Oil on canvas in black and gilt period frame.

The sitter is probably a Johnstone of Pentefract, a Cudworth, or a Hake of Chatteris and Pilsgate.
The portrait is faintly inscribed, upper right, "Ae 23" (in the 23rd year of his age).

This portrait came from Denston Hall in Suffolk (see image 7) the estate which for centuries belonged to the Robinson family.
Having descended through various branches of the family the different estates became invested in Algernon Dunn Gardner in the early 20th century. Connected to the Robinson family by marriage, Dunn Gardner kept this portrait on the walls of Denston until it was removed by his daughter when the property was sold 30 years ago. It was then kept in storage until now.

JACOB HUYSMANS (c.1633–1696) was a Flemish portrait painter. He moved to England during the reign of Charles II where he became one of the fashionable painters of the court. His chief portraits are those of Izaak Walton and Catherine of Braganza, Charles II's wife (both displayed in the National Portrait Gallery, London)
He was born into a family of artists in Antwerp. He was the uncle of Jan-Baptiste and Cornelis Huysmans. He learned to paint from Gilles Backereel and Frans Wouters and moved to England, where he later influenced David des Granges (1611–1675). His first works were pastiches of work from Anthony van Dyck. As a Roman Catholic he was favoured by Catharine of Braganza. When Samuel Pepys visited his workshop in Westminster on 26 August 1664, he described him as a 'picture-drawer ... which is said to exceed Lilly (Lely). Huysmans's most important portrait of Catharine of Braganza, Queen Catharine as a Shepherdess (c. 1664; Brit. Royal Col.), was one of the pictures Pepys saw on that occasion. Painting his female subjects as sheperdesses with clothing embellished with embroidery and jewellery were typical of his style.

Huysmans died in Jermyn Street, London, in 1696, and was buried in St. James's Church in Piccadilly.

SIZE: 37.25 x 32 inches inc. frame.
PROVENANCE: By descent to The Manor House, Chatteris and thence to the Dunn Gardner Collection, Denston Hall in 1908 then by descent.
Old handwritten labels verso.

Portrait of an East India Company officer ...

Item Ref

Oil on canvas in a reproduction frame of correct type.

The East India Company (EIC), also known as the Honourable East India Company or the British East India Company and informally as John Company, was an English and later British joint-stock company, which was formed to pursue trade with the East Indies but ended up trading mainly with the Indian subcontinent and Qing China.
Originally chartered as the "Governor and Company of Merchants of London trading into the East Indies", the company rose to account for half of the world's trade, particularly in basic commodities including cotton, silk, indigo dye, salt, saltpetre, tea and opium. The company also ruled the beginnings of the British Empire in India.
The company received a Royal Charter from Queen Elizabeth I on 31 December 1600, making it the oldest among several similarly formed European East India Companies. Wealthy merchants and aristocrats owned the Company's shares. The government owned no shares and had only indirect control.
The company eventually came to rule large areas of India with its own private armies, exercising military power and assuming administrative functions. Company rule in India effectively began in 1757 after the Battle of Plassey and lasted until 1858 when, following the Indian Rebellion of 1857, the Government of India Act 1858 led to the British Crown assuming direct control of India in the form of the new British Raj.

NATHANIEL HONE R.A. (1718-1784)
Nathaniel Hone was born in Ireland, and, it seems, was essentially self-taught. Seeking his fortune, he soon travelled to England to work as an itinerant painter. In the 1740s, after a wealthy marriage, he was able to settle in London, and there formed a large and prestigious clientele. Patrons included the Earl of Bute, Edmund Burke, and Frederick, Prince of Wales. In 1768 Hone was one of a number of artists who left the Society of Artists of Great Britain to found the new Royal Academy, of which he was one of two Irish founding members.

But Hone, who seems by nature to have been something of a rebel, soon fell out with his fellow academicians, in particular the President, Sir Joshua Reynolds. Hone’s large 1775 subject-picture, ‘The Conjuror’, was a direct attack on Reynolds’ reliance, as Hone saw it, on Italian compositions by the Old Masters. What Reynolds saw as a revival of the Grand Manner, Hone saw simply as plagiarism. Hone’s picture was rejected, not least because it also alluded to Reynolds’ alleged relationship with Angelica Kauffman, and he ceased exhibiting at the RA. Thereafter, Hone became the pioneer of the one man show, and began exhibiting his own works at independent shows in London, often to great acclaim.

SIZE: 39.5 x 34 inches inc. frame.
PROVENANCE: Formerly with Indar Pasricha.
Verso: old Christie's stencil.


Portrait of a Royal Navy warship; attributed ...

Item Ref

Oil on canvas in a simple gilt frame.

The Royal Navy warship, a Fourth Rate, is shown arriving at the fleet anchorage, whilst in the background a three decker ship-of-the-line announces her arrival.
Although the name of the vessel is lost, this is still a fine ship portrait, painted with the accuracy and attention to detail typical of Robert Woodcock.

ROBERT WOODCOCK (bap. 9 October 1690 – died 10 April 1728) was an English marine painter, musician, and composer who lived during the Baroque period. He is notable for having published the earliest known flute concertos, and the earliest known English oboe concertos.
He was baptised at Chelsea Old Church on 9 October 1690, the son of Robert Woodcock (1642–1710) and Deborah Littleton. He grew up in Shrewsbury House, Chelsea, London, where his parents ran a girls school. His family was fairly affluent, and his father was described as a gentleman, indicating good social position.
In 1714, Robert junior married Ayliffe Stoaks, by whom he had several children. According to a contemporaneous biographical account, he worked as a civil servant … a naval clerk. Keenly interested in ships he made many drawings of them. He resigned his government post around 1723 to become a professional artist, although he had started to paint in 1720. Later in life he suffered acutely from gout, which eventually was the cause of his death, at the age of 38, on 10 April 1728. He is buried at Chelsea Old Church.

As a marine painter, specialising in the painting of ships at sea, his style was strongly influenced by the Dutch painter Willem van de Velde the Younger, whose works he assiduously copied. With only a five year life-span as a painter in oils, it is not surprising that his works rarely turn up. He painted about 40 copies of van de Velde's work, which are often mistakenly attributed to Peter Monamy. He was also an accomplished musician and composer, performing on the oboe, recorder, and flute. He was perhaps most skilled on the flute, as in 1776, nearly 50 years after his death, he was described by John Hawkins as "a famous performer on the flute."

Before his untimely death his paintings were developing in confidence and originality although still influenced by the van de Veldes. There is one of his paintings in the Paul Mellon Collection at Yale, and one in the National Maritime Museum at Greenwich.

SIZE: 52.75 x 42.75 x 1 inches including the frame.
PROVENANCE: French private collection Verso: old French storage label.
London private collection.


Item Ref

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.

SOLD....Portrait of a Gentleman c.1735; Attributed to ...

Item Ref

A good quality early Georgian oil on canvas in a fine carved and giltwood period frame.

JONATHAN RICHARDSON (1665–1745) sometimes called "the Elder" to distinguish him from his son) was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton. His strength was in portraits of men which were sound, solid, good likenesses, and unpretentious.

SIZE: 36.75 x 32 inches inc. frame.
PROVENANCE: English Collection
Label verso: 'Bartholomew Wilkins and Partners, 1 Barrett Street, London'.


SOLD....Portrait of Elizabeth Felton, Lady Hervey, c.1705; ...

Item Ref

Oil on canvas in period carved and giltwood frame.

The sitter in this portrait has traditionally been identified as “Lady Hervey”. It seems most likely that the sitter is Elizabeth Felton, second wife of John, 1st Earl of Bristol, whom Dahl is known to have painted through an engraving by John Simon (National Portrait Gallery).
The similarities in likeness between the engraving and the present picture are compelling.

ELIZABETH FELTON (1676-1741) was the daughter of Sir Thomas Felton, 4th Bt. and Lady Elizabeth Howard. Her home was Playford Hall, Suffolk (see image 5) and her father was Master of the Household to Queen Anne.
She married John Hervey, 1st Earl of Bristol, son of Sir Thomas Hervey and Isabella May, on 25 July 1695 at Boxted Hall, Suffolk, England.
She held the office of Lady of the Bedchamber to Queen Caroline. As a result of her marriage, Elizabeth Felton became Baroness Hervey of Ickworth on 23 March 1702/3, then Countess of Bristol on 19 October 1714.
Elizabeth was noted for her vivacity and love of pleasure and of play.
Lady Mary Wortley Montagu, a close friend, wrote that "the Countess has come out a new creature... is grown young, blooming, coquette and gallant, and to show she is fully sensible of the errors of her past life, and resolved to make up for time misspent, she has two lovers at a time."
She had 17 children of whom 10 died very young.

She died on 1 May 1741 at St. James's Park, St. James's, London, England. She was buried at Ickworth, Suffolk, England.

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

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

SIZE:36.5 x 31.5 inches inc. frame.
*Sir David Erskine Bt. (1792-1841) of Cambo, Fife. Inscribed on the canvas verso.
*With Philip Mould (Historical Portraits), Mayfair, London.
NOTE:The Erskine Baronetcy, of Cambo in the County of Fife, was created in the Baronetage of the United Kingdom on 27 August 1821 for David Erskine. He was the natural grandson of Thomas Erskine, 9th Earl of Kellie.

SOLD....Portrait of an Officer 1917, by Leon ...

Item Ref

Oil on canvas in gilt frame. Signed and dated 'Leon Sprinck 1917', lower right.

A good and insightful portrait of a British army captain painted during World War One; in 1917 the war had a year to run.
The sitter wears the red hatband and tabs of an officer of the General Staff but, to judge by his decorations he had seen action, as amongst their number is the D.S.O.
(The Distinguished Service Order was awarded for meritorious or distinguished service by officers of the armed forces during wartime, usually in actual combat. It is typically awarded to officers ranked Major (or its equivalent) or higher, but the honour has sometimes been awarded to especially valorous junior officers. 8,981 DSOs were awarded during the First World War, each award being announced in the London Gazette.)

The identity of the young officer is unknown as is whether he survived the Great War.

LEON SPRINCK was a fashionable artist of Russian stock, he painted many aristocrats and members of the gentry. In the late 19th and early 20th centuries he exhibited at the Royal Academy, London, the Royal Hibernian Academy and the Walker Art Gallery, Liverpool. He lived at Portland Place in London.

SIZE: 39 x 34 inches inc. frame.
PROVENANCE: Collection of a retired army officer, Westmoreland country house.
Verso; old storage label " A & N.C.S.L. No.25. Mrs. Wickham April 1972".