Pair of Walnut framed chairs, c.1890-1920, in ...

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A handsome pair of walnut framed chairs, with flame stitch upholstery. C. 1890-1920 in the French 17th century style.
Both chairs in 'country house' condition (in fact they spent many years in one such). Upholstery worn and the chairs a little loose jointed, but perfectly usable.

SIZE: 41 inches tall, 19 inches wide, 20 inches deep.
PROVENANCE: Somerset country house for many years.
Last five years in our guest room, now surplus to requirements.

Portrait of Radcliffe Pearle Todd c.1780; Circle ...

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Oil on canvas in period giltwood frame.

This charming late Georgian portrait, of intimate size, shows Radcliffe Pearle Todd (1762-1813) of Sturmer Hall, Haverhill, Suffolk. (See Image 4). This estate had been in the family since c. 1595.

He was the son of Radcliffe Pearle Todd and his wife Elizabeth Strutt. (portrait also on this website).
This young Radcliffe married, firstly, Sarah Elizabeth Massingberd of Gunby and, secondly, Sarah Ingle.
His son by Sarah Elizabeth was also, confusingly, called Radcliffe Pearle Todd.

JOHN FRANCIS RIGAUD (1742-1810) was a painter of portraits, history and decorative pieces. Born in Italy of French descent, he was mainly active in England. He trained in his native Turin as well as Florence and Bologna and moved to London in 1771. Rigaud's major patron was Heneage Finch, 4th Earl of Aylesford, for whom he decorated the Pompeian Gallery at Packington Hall, Warwickshire, in 1787. He was a member of the art academies in Bologna and London.

SIZE: 21 x 19 inches inc. frame.
PROVENANCE: by direct descent in the family.

SOLD....An English Flagship off a Port c.1705, ...

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Oil on canvas in giltwood frame, signed lower left.

A fine marine painting by Stranover depicting a squadron of English warships off a Continental port.
In the background can be seen a beached vessel being careened and, judging by the smoke, re-tarred.
The artist captures the beauty of the heavily gunned ship of the line as she heels with the shore wind, her stern carved with the elaborate gilt 'gingerbreading' fashionable around 1700.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

TOBIAS STRANOVER (Stranovius) (1684-1756) was a Transylvanian Saxon painter in England, born in Sibiu.
Stranover arrived in England in 1702 in the company of the English Ambassador to Constantinople, William Paget, who had met him in Transylvania. He studied painting under the mastership of his father-in-law in London. He worked in the Netherlands, Hamburg, Dresden and London.
Stranover did very well in England and it was said, soon after his arrival, that he "already excels amongst painters".
His speciality became still lives and flower paintings but this seascape, one of his earliest works, shows he was equally talented as a sea painter.
According to most references Stranover died 'after 1724' or 'after 1731', however, a letter from his brother-in-law mentions him alive in 1733 and on p.396 of the London Magazine of 1756 a laudatory poem dedicated to him mentions the exact date of his death: February 26, 1756.

SIZE:54 x 36 inches inc. frame.
PROVENANCE: Sir John Tomlinson Hibbert KCB (1824-1908) of Hampsfield, Lindale, nr. Grange over Sands.
Thence by descent through the family to the present day.
LITERATURE: E.H.H. Archibald 'Dictionary of Sea Painters'. Illustrated p.265, plate 134. (see Image 5).

Portrait of Capt. the Hon. Henry Dundas ...

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Oil on canvas in the original Regency gilt frame.

This is a superb portrait of the young aristocratic officer; sensitive and insightful, his hair in the fashionably Byronic style. It is a fine example of the best work of Devis. He wears the dress uniform of the Light Dragoons.

CAPTAIN THE HONOURABLE HENRY DUNDAS SHORE (1800 - 1826) was the third son of the 1st Lord Teignmouth, Governor General of India and anti slavery campaigner.
The sitter served with the 11th Regiment of Light Dragoons as Cornet in 1818, then in the 4th Royal Irish Regiment of Dragoon Guards (being promoted to Lieutenant in November 1822) before becoming Captain in the Royal Marines in 1826.
Shore died in Loumarin, France, in April 1826. He was 26 and unmarried.
His funeral was a grand affair: "The pall was borne by officers of the French army. As the procession passed through the streets, which were densely crowded - as a holiday had been granted to the people of the neighbourhood - its progress was indicated by volleys from the carbines of the gendarmerie and the same martial tribute was bestowed at the grave." (from 'Memoir of the Life and Correspondence of John, Lord Shore', vol.2).

ARTHUR WILLIAM DEVIS (1762 - 1822). Devis was the son of Arthur Devis, a successful portrait painter. Devis enrolled at the Royal Academy Schools at the age of twelve and exhibited at the Royal Academy from 1775. In 1782, he embarked aboard the Antelope for a voyage to the East Indies, in the capacity of draughtsman. The ship was wrecked and Devis and the crew were stranded for a year on an uninhabited island in the Pacific Ocean. After a series of extraordinary adventures, during which he took part in the wars of the natives on a neighbouring island and received two arrow wounds, Devis arrived in India, where he settled for ten years, establishing a successful practice as a painter of portraits and local scenes. He attracted the attention of Sir William Jones, Lord Cornwallis and General Harris. He returned to England in 1795, concentrating mainly on painting portraits and a few notable history subjects. Perhaps his best known painting is the famous "Death of Nelson".

SIZE: 39 x 34.25 inches inc. frame.
PROVENANCE: By descent in the family of the sitter.
Verso: an old depository label for Lord Teignmouth, and an illegible inscription.

Portrait of William, 9th Earl of Derby(?) ...

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Oil on canvas in period carved giltwwod frame.

The sitter, thought to be the Earl of Derby, is painted in a typical Lely pose; Lely painted the notorious John Wilmot, Earl oF Rochester in this very attitude.
It is likely that this portrait was commissioned in 1672 to mark William's succession to the earldom, or his marriage to Lady Elizabeth Butler the following year.
The breastplate does not signify any martial activity by the sitter, it was there to symbolise aristocratic power and wealth. The sitter wears a fashionable and costly wig and an even more expensive cravat of Venetian 'gros-point' lace. In 1685 Charles II ordered three cravats of such lace at a total cost of 94....equivalent to over 16000 today!

WILLIAM RICHARD GEORGE STANLEY, 9th Earl of Derby (1654 5 November 1702), styled Lord Strange from 1655 to 1672, was an English peer.

William was the eldest son of Charles Stanley, 8th Earl of Derby, and Dorotha Helena Kirkhoven. He succeeded his father in the earldom in 1672 at the age of 18.
He was commissioned to the lieutenancies of Lancashire, Cheshire, and five Welsh counties, but although possessing good education and an intelligent mind, he declined to take part in the great affairs of State, and lived the life of a quiet country gentleman.

Lord Derby married Lady Elizabeth Butler, daughter of Thomas Butler, Earl of Ossory, in 1673. His only son James Stanley, Lord Strange, predeceased him.

JOSEPH BUCKSHORN (Bokshoorn, Boxhorn), c.1645 - c.1680, was a portraitist who was said to have been born in The Hague and came to England c.1670. He acted as a drapery painter for Lely. (Sir Peter Lely was the dominant Court painter of this period and maintained a large studio with talented assistants to supply the demand for his portraits).
Buckshorn's only known portraits are Lely patterns, and his style is very much that of his master.

SIZE: 53 x 44 inches inc. frame.
PROVENANCE: Private collection, English/Welsh Borders.

SOLD....Portrait of a Young Woman as Selene, ...

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Oil on canvas in modern giltwood frame, signed, bottom right, 'MULLER MELA.'

This exquisite portrait of a beautiful young woman depicts her as Selene, the Moon Goddess.

Shown in profile, with closed eyes, the sitter conveys a feeling of tranquility and an intriguing sense of both the erotic and the innocent.
Moonstones in her hair represent the stars, the gleaming robe of the Milky Way is around her and she holds a corn plant... vitally important as a constituent of bread - the staff of life. Corn also symbolised plenty.

In Greek mythology Selene was the daughter of Hyperion and Theia, the sister of Helios the Sun God and Eos the Dawn.
Selene, "the eternally beautiful", is one of the triple goddesses of the Moon: Artemis - the waxing moon, Selene - the full moon, and Hecate - the waning moon.

Selene is the mother goddess...a symbol of womanhood, and is represented by the full moon, where she is at the height of her reproductive potential.
Known to the Romans as Luna, she is responsible for the germination of seeds and new crops.
The days of the full and new moon were set aside for her worship.
The calenders and rituals of her worship helped people to measure time to know when it was best for planting and harvesting.

Appropriately for a goddess who represents the life force she was known for her many love affairs.
The moonstone is her gem and her colour is silver, grey white.

MELA (MELANIE) MULLER was born in Budapest in 1879 and died in 1933.
At the present there is little information available on this talented Hungarian painter and her works seem to be very rare.

SIZE: 33 x 29.5 inches inc. frame.
*Sold Sotheby's, lot 144, 4 May 1988.
*Hampshire Private Collection.


SOLD....Portrait of a Young Lady c.1730; Attributed ...

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Oil on canvas in early 19th c. gilt frame.

This fine portait of a young woman has a real Baroque swagger to it; the lady seems almost to be moving across the canvas, her silken robe billowing behind her.
The material of her gown and robe have the expensive-looking rather metallic sheen associated with Highmore's treatment of material.
The sitter looks directly at the viewer with confidence and candour.
The veins of her left hand can be seen faintly shown in blue; at this period, and earlier, for a woman to have a semi-translucent skin and bue veins showing was considered very attractive and well bred...hence the expression 'blue-blood' for members of the aristocracy.

JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.

Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.
By the 1730s his style had become more polished and sophisticated.

Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.
Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.

SIZE:45 x 36.75 inches inc. frame.
PROVENANCE: Private Collection, Southern England.

Portrait of Benjamin Blaydes Haworth, Sheriff of ...

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Small oil on canvas in original giltwood frame.
This is an extremely fine and sensitive portrait by an as yet unidentified artist.

BENJAMIN BLAYDES HAWORTH was born in 1763. He was the son of Benjamin Haworth and Anne Booth. He died, unmarried. He held the office of Sheriff of Hull in 1803.
A portrait of his grandfather, Thomas Haworth is also on this website.
The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.
The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths. Like the aristocracy these wealthy merchants married within their peers, always with an eye on increasing their wealth and power.
SIZE: 19 x 15.5 inches inc. frame.
PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.

SOLD....Double Portrait of a Lady and Child ...

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Oil on canvas (now mounted on board) in reproduction gilt frame.

An attractive and well painted double portrait of a mother and child painted in the Regency period; the mother, dressed very fashionably, looks out with a quiet pride.
Meanwhile the infant, rather touchingly, waves at the viewer from across the centuries. The fact that the identities of the sitters are unknown and we do not even know the gender of the child somehow renders the portrait more poignant.

The father of the child, husband of the lady, a legal gentleman, is also on this website, our ref: 8635.

RAMSAY RICHARD REINAGLE, (19 March 1775 - 17 November 1862) was an English portrait, landscape, and animal painter, and son of Philip Reinagle, he was a pupil of his father, whose style he followed. He exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters.
Reinagle exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823.

PLEASE NOTE: There is also similarity to the work of the American artist REMBRANDT PEALE (1778-1860). Peale was an artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Peale's style was influenced by French Neoclassicism after a stay in Paris in his early thirties.

SIZE: 40.75 x 39.75 inc. frame.
PROVENANCE: Private Collection, Somerset.

SOLD....Portrait of George Edward Russell by George ...

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Oil on canvas in period giltwood frame, bearing the collection number '18' and names of sitter and artist.

A charming image of the young George Russell, standing by a column, a landscape behind him, and holding a battledore and shuttlecock.

GEORGE EDWARD RUSSELL (1786-1863) was a son of Claude Russell and worked in India for the East India Company. He was in India for 33 years and was, for a time, acting Governor of Madras.
He married Caroline, daughter of Major General George Bowness and the union produced a daughter, also Caroline, who married Captain James Maxstone of the East India Company army in 1851.

Maxstone was born in 1819 and succeeded to the title of 13th Laird of Cultoquhey in 1846. In 1859 he inherited the estate of Redgorton from his uncle Robert Graham thus becoming also the 6th Laird of Redgorton. He adopted the additional name and arms of Graham.

George Russell died at his home in Wiltshire in i853 aged 74.

GEORGE WATSON (1767-1837) was a Scottish portrait painter and first president of the Royal Scottish Academy.
Watson was born at his father's estate, Overmains, Berwickshire, in 1767, the son of John Watson and Frances Veitch of Elliott. He received his early education in Edinburgh, and got some instruction in painting from Alexander Nasmyth but when 18 years of age he went to London with an introduction to Sir Joshua Reynolds, who received him as a pupil. After two years spent in Sir Joshua's studio, he returned to Edinburgh, and established himself as a portrait-painter.

He exhibited frequently at the Royal Academy and the British Institution, and about 1815 was invited to London to paint a number of portraits, including those of the dean of Canterbury and Benjamin West. In 1820, in spite of much opposition from the Royal Institution, the Scottish Academy was founded, and Watson, who had been president of the previous society, was elected to the same office in the new one, the ultimate success of which was largely due to his tact and ability. He continued as president until his death, the academy receiving its royal charter a few months afterwards.

Shortly after his return from his first visit to London he married Rebecca, daughter of William Smellie, printer and naturalist, who, with five children, survived him.

Watson died in Edinburgh on 24 August 1837.
(He was a relative of Sir John Watson Gordon, portrait painter, who had added the Gordon to his name to distinguish himself from other painter members of the Watson family.)

SIZE: canvas 30 x 25 inches
Framed size: 35 .25 x 30.26 inches.
PROVENANCE: Berkshire Private Collection.
Verso: 1970's auction catalogue entry.

Portrait, traditionally identified as Admiral Robert Blake ...

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Oil on canvas in 18th century gilt frame.

Originally an oval, this portrait has been mounted onto a rectangular canvas, possibly in the 18th century as that is the date of the frame. The inscriptions dates from the same period.
Roughly translated the Latin inscriptions mean " Died in 1657,in his 59th year" and "Blake the victor of the seas. First Cromwellian admiral of the ocean."

ROBERT BLAKE (1598-1657)was one of the most important military commanders of the Commonwealth of England and one of the most famous English admirals of the 17th century, whose successes have "never been excelled, not even by Nelson" according to one biographer. Blake is recognised as the chief founder of England's naval supremacy, a dominance subsequently inherited by the British Royal Navy into the early 20th century. Despite this, due to deliberate attempts to expunge the Parliamentarians from history following the Restoration, Blake's achievements tend not to receive the full recognition that they deserve.
In a letter written on 17 April 1797, to Admiral Sir John Jervis, Admiral Lord Nelson wrote "I do not reckon myself equal to Blake". He ranked Robert Blake as one of the greatest Naval Generals ever known, even when compared with his own reputation.
Blake died of old wounds on board his flagship within sight of Plymouth.
After lying in state in the Queen's House, Greenwich, he was given a full state funeral and was buried in Westminster Abbey in the presence of Oliver Cromwell and the members of the Council of State (although his internal organs had earlier been buried at St Andrew's Church, Plymouth).

ROBERT WALKER (15991658) was an English portrait painter, notable for his portraits of the Lord Protector Oliver Cromwell and other distinguished Parliamentarians of the period. He was influenced by Van Dyck, and many of his paintings can now be found at the National Portrait Gallery, London.

SIZE:36 x 31 inches inc. frame.
PROVENANCE:Private Collection.
VERSO: trade label of Frost and Reid of London and Bristol, restorers, with the handwritten number 4226 and the date 10.11.47.
Old storage label for Cox and Co. of Burnham on Sea.

SOLD...Portrait of Hortense Mancini, Duchesse Mazarin, c.1670; ...

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HORTENSE MANCINI, Duchesse Mazarin (1646 1699)
Hortense Mancini, the Duchess Mazarin, was one of five Italian sisters all noted for their great beauty. Two of them became mistress to Louis XIV. Born in Rome in 1646, Hortense moved to France at an early age. Charles II proposed to her while there, but her uncle, Cardinal Mazarin, Chief Minister of France, did not think the exiled English king's prospects were good. In 1661 she was married at the age of fifteen to Armand-Charles de la Meilleraye but escaped her cruel and mentally unstable husband in 1668, seeking refuge in Rome with her sister Marie Mancini, Princess Colonna. Louis XIV declared himself her protector, but she left for England arriving at the Court of Charles II in 1675 and becoming his mistress shortly thereafter. After the death of Charles Hortense was well provided for by King James II, possibly because of her kinship with the new queen, Mary of Modena. She maintained a cultured 'salon' of all the learned men of London. Reputed to have had an affair with the famous poetess Aphra Behn as well as others of both sexes, Hortense was considered an adventuress. She was known for her compulsive gambling, her skill with the rapier, and her inclination to wear men's clothing, but especially for her beauty and wit.

JACOB 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, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. 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.

Oil on canvas
SIZE: canvas 28 x 23 inches
PROVENANCE: Italian Private Collection