SOLD....Portrait of Frances Lambert, Lady Middleton c.1690; ...

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Oil on canvas in modern gilt frame.

A good quality portrait of the Court beauty Frances, Lady Middleton (c.1666-1694).
A smaller version of this portrait is in the National Portrait Gallery Primary Collection (NPG 1761a. Given by Lord Weardale 1915).

Frances Lambert was the daughter of John Lambert of Calton Hall, Calton, Yorkshire; she was the Lambert heiress, grand-daughter of Major-General John Lambert, the famous Civil War general. Frances was named after her grandmother.
She married Sir John Middleton, 2nd Baronet, of Belsay Castle, Northumberland and thus the Lambert estates passed to the Middletons.

Frances wears an 'undress' robe with no jewellery; she is depicted standing in a landscape and holds a rod which is probably a shepherd's crook. The reference is to the mythical realm of Arcady or Arcadia; a fashionable conceit of the time..a land where Love ruled and attractive young people wandered around a tamed landscape tending their perfectly groomed sheep... when they weren't writing poetry or playing flutes.
Almost every lady of fashion was depicted as a shepherdess during this period.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture and a large number of artists, some very talented in their own right, emulated his fashionable style.

SIZE: 42 x 35.5 inches inc. frame

PROVENANCE: Private Collection, Nottinghamshire.

Portrait of a Young Girl c.1675; by ...

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Oil on canvas in period carved and giltwood frame.

A charming portrait of a young girl wearing a 'Roman' robe draped over her shoulder; this is not a garment she would ever have worn in her everyday life. Its purpose was to suggest the Classical world of Ancient Rome, so fashionable at the time. This was known as "elevating the sitter" and was thought to confer a timeless quality upon the portrait.
The young lady is depicted within a beautifully painted feigned stone oval, bearing fruit. This motif was used so often by Beale as to be almost her trademark. It also was intended to be a Classical reminder.

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.

The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a patent clerk, and also due to the Great Plague of London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio.
She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet.
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.
Mary Beale died in 1699 in Pall Mall, and was buried at St. James's, Piccadilly in London. Her husband died in 1705.

SIZE: 35 x 30 inches inc. frame.
PROVENANCE: From the Collection of Viscount Cowdray, Cowdray Park, Sussex where it hung in Lady Cowdray's Bedchamber.
(Image 4 shows the house from the air).
Verso: an illegible 19th c. Exhibition label and a further old label for "William Young, Fine Art Collector and Dealer in Articles of Value"

SOLD...Portrait of a Boy c.1695; Circle of ...

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Oil on canvas in period carved and giltwood frame.

The sitter, expensively and fashionably dressed, looks confidently out at the viewer; he wears his 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 ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)

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.

SIZE: 38 x 33 inches inc. frame.
PROVENANCE: by descent, an old Surrey private collection.
VERSO: old restorer's label


SOLD....Portrait of James Stuart (?) called The ...

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Oil on canvas in good carved and giltwood period frame. Signed lower right 'Wm. Sonmans.'
The sitter has been known as The Old Pretender for at least 100 years.

Probably James Francis Stuart, the young boy strikes an arrogant pose, dressed in faux Classical clothing with all the implications of Imperial Rome, his hound is beside him and his hat bears the three ostrich plumes of the Prince of Wales.

Son of James II and his Catholic second wife Mary of Modena. James Francis’ birth in 1688 was controversial as it raised the prospect of succession of a Catholic king. A rumour was started by James’ detractors that the baby was a substitute introduced in a warming pan. James II was unpopular and the birth precipitated his fall when William of Orange, who had married Mary James’ daughter by his first wife Anne Hyde, was invited to take the throne in the ‘Glorious Revolution’ of 1688. James abdicated a few months later when his forces faced defeat by William, and he, his wife Mary of Modena and baby son James fled to France.

James was raised in France and on the death of his father in 1701 declared himself James III as the rightful heir to the English throne and James VII to the Scottish throne. He was recognised by the French King Louis XIV, and became the focus for the Jacobite movement to regain the thrones. In 1708 he attempted to land with French ships in the Firth of Forth in Scotland but was driven back by the English under Admiral Byng.

His two Protestant half sisters, Mary and Anne, had both become Queen, and when Anne died in 1714 he could have renounced his Catholicism and become king but he refused, leaving the throne to the Hanoverian George I. In 1715 the Scottish Jacobites started an uprising and James set foot on Scottish soil spending 6 weeks cold and disconsolate in an alien land. The Battle of Sheriffmuir was indecisive and James decided to return to France disappointed by his lack of support. He became a political embarrassment, as the Scots were unimpressed and his patron Louis XIV had died, so James spent the rest of his life in exile.

He became known as ‘The Old Pretender’ after he married Maria Sobieski in 1719 and had one son Charles Edward Stuart ‘The Young Pretender’. Maria left him after 5 years, and James had an illegitimate son Henry Benedict Stuart. Pope Clement offered James the use of a Palace in Rome where he went to live. He lived through his son’s more spectacular attempt to regain the throne in 1745 before he died in Rome in 1766.

WILLIAM SONMANS (working 1670s - 1708).
He was a portraitist of Dutch origin, a native of Dordrecht. He came into prominence after the death of Sir Peter Lely, the Royal Court painter, in 1680.
Sonmans was based in London, but spent term-
time in Oxford where he painted academics. His style has echoes of both Riley and Kneller. Portraits by him are rare.

SIZE: 58 x 49 inches inc. frame.
*Rt. Hon. Sir John Eldon Gorst, Castle Combe, Wiltshire, by whom sold at Sotheby's in 1913.
*English Private Collection;
*Private Collection, France.
*Collection of a Fellow of a Cambridge college.
Verso: label; 'Andre Chenie & Fils, Transport Internationale, Paris'.

SOLD......Portrait of Alexander Pope (?) c. 1730: ...

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Oil on canvas in gilded frame.

An interesting portrait of a gentleman, thought to be Alexander Pope (21 May 1688 – 30 May 1744).
Pope was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. Famous for his use of the heroic couplet, he is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.

Painted in the intimate 'cabinet' size, often made as a gift, the portrait shows in the background an impressive Classical stone terrace; the sitter prominantly displays a double sealed letter which seems to have been written by him, as on his desk are sheets of writing paper and a pen.

In 1731 Pope wrote his "Epistle to Burlington" to the amateur architect, Richard Boyle, 3rd Earl of Burlington (1674-1753). Burlington was a close friend of Alexander Pope, whose "Epistle to Burlington" acknowledges his great taste in both architecture and landscape design.
Does the Palladian terrace acknowledge Burlington's revival of the architecture of Palladio, and does the envelope symbolise one of Pope's famous epistles? Perhaps.

(An epistle is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter.)

(Image 4 shows a portrait of Pope when younger and painted in 1718 by Richardson).

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, as an apprentice, 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.

SIZE: 23 x 28.5 inches inc. frame.
PROVENANCE: Somerset Private Collection.

SOLD...Portrait of a gentleman, presumably of the ...

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Cornelis Jonson van Ceulen (London 1593-1661 Utrecht)

Portrait of a gentleman, presumably of the Wilbraham family, half-length, in a black slashed doublet with a lace collar.
Signed and dated 'Cs.J. fecit 1637' (lower left)
oil on canvas
30 3/8 x 24¾ in. (77.1 x 62.8 cm.)

Presumably by descent in the Wilbraham family to
George Hugh de Vernon Wilbraham (b. 1890), Delamere House, Northwich, Cheshire.
Acquired from Leggatt Brothers, London, in 1931, by Harold Pearson, 2nd Viscount Cowdray.

C. Anson, A Catalogue of Pictures and Drawings in the Collection of The Viscount Cowdray, London, 1971, p. 2, no. 4, plate 13, as 'a Cavalier' (in the Vestibule).

An old label on the reverse of the picture indicates that this portrait was in the collection of George Wilbraham of Northwich, Cheshire, and it seems probable that this refers to George Hugh de Vernon Wilbraham of Delamere House, Northwich, Cheshire.
The Wilbraham family, which was well established in Cheshire by the early 16th century, moved the family seat in 1784 from Nantwich to Cuddington where they built Delamere Lodge, later renamed Delamere House, one of the largest houses in the district. Cornelis Jonson executed a number of portraits of members of the family, including a portrait of Roger Wilbraham (1589-1670) of Dorfold.

In Image 4 the portrait can just be seen , on the far left, hanging in the entrance hall at Cowdray Park.
Image 5 shows Cowdray Park.


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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.

SOLD....Portrait of Sandford Tatham c.1765/70: English School ...

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Oil on canvas in period part gilt frame.

The young Sandford Tatham, son of a Cumberland clergyman, aged about ten or twelve, looks out at the viewer with a half smile as he gestures towards his pet squirrel.
The artist is an unknown English provincial painter but he has managed to capture the youthful freshness of the young boy. The portrait has a real charm and a quality of intimacy.

SANDFORD TATHAM (1755-1840) was commissioned as a lieutenant in the Royal Navy in December 1776 at the age of 21. He was appointed Commander in September 1790 and was commissioned Captain in November 1794. His commands were HMS Argo and HMS Dromedary. In 1794 the Dromedary sailed with the fleet of Sir John Jervis from Barbados to Martinique for an assault on the French and later that year, still under Sandford's command, took part in operations at the islands of Martinique, St. Lucia and Guadaloupe.
Sandford retired as Superannuated Rear Admiral in December 1813.
His wife was a member of the Davison family from the Durham area.

In 1830, in a celebrated court case, Admiral Tatham laid claim to the historic Hornby Castle against a distant cousin, the Rev. Anthony Lister of Gargrave, Yorkshire. Four trials were held in 1830, 1833, 1834 and 1836; the verdict was for Tatham and a similar decision was made in the Queen's bench and was finally confirmed by the House of Lords in 1838.
The admiral died at Hornby Castle in 1840, aged 85, his wife died in 1842.
A brass set in the floor of St. Margaret's Church,Hornby commemorates Tatham and two fine funeral hatchments painted with the Tatham and Davison coats of arms hang on the walls.
(Image 5 shows Hornby Castle)

SIZE: 32 x 27 inches inc. frame.
PROVENANCE: Private Collection, Gloucestershire.

VERSO: old pencil inscription on stretcher 'Admiral Tatham of Hornby Castle'

Portrait of Colonel Francis Russell c. 1690; ...

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Oil on canvas in carved and giltwood period frame, bears the inscription "Francis Russell, Son of the Hon. Edwd Russell".
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!

Colonel FRANCIS RUSSELL was the son of the Hon. Edward Russell and Penelope Brooke, widow of Sir William Brooke KB, of Sterborough Castle, Surrey, and Cowling Castle, Kent, and daughter of Sir Moyses Hill, of Hillsborough, County Down.
Francis was the grandson of Francis Russell, 2nd Baron Russell of Thornhaugh later 4th Earl of Bedford, PC.
The sitter's uncle was the Hon. William Russell, later 5th Earl of Bedford, later 1st Duke of Bedford.

Colonel Francis Russell married on the 30th April 1691 the Hon. Catherine North, widow of
(1) Sir Edward Moseley, 2nd Bt. MP, of Hough, co. Lancaster, and Rolleston, co. Stafford, and
(2) Charles [North], 1st Baron Grey of Rolleston and 5th Baron North), 2nd daughter of William [Grey], 1st Baron Grey of Warke, by his wife Cecilia Wentworth, daughter of Sir John Wentworth, of Gosfield, Essex.

Russell held the office of Governor of Barbados between 1694 and 1696. He died in October 1696.

JOHN RILEY, or Ryley, (1646– March 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was Court Painter to William III and Mary II. One of his pupils was Jonathan Richardson.
Riley was born in London, one of the sons of William Riley or Ryley, Lancaster herald and keeper of the records in the Tower of London, who was created Norroy king-at-arms under the Commonwealth, but reverted to his herald's office at the Restoration.

Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy.
Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Charles II gave Riley some commissions, and eventually himself sat for him. During one sitting he is said to have remarked to Riley, "Is this like me? Then oddsfish I'm an ugly fellow". Riley also painted James II and his queen, and, on the accession of William and Mary, he was appointed Court Painter.

Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller. He was assisted in painting his draperies and accessories by John Closterman, who finished several of Riley's pictures after his death.

Riley, who suffered very much from gout, died in March 1691, and was buried in the church of St. Botolph, Bishopsgate.

SIZE: 31 x 26 inches inc. frame.
PROVENANCE: Collection of a Titled Family, Yorkshire Dales. (The same collection as the Portrait of a Lady by Thomas Murray also on this website, also the portrait of Henrietta Maria).
Verso: old inventory number '58'.

SOLD....Portrait of a Lady 1931, by Flora ...

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Oil on canvas, signed and dated upper right.

A superb and insightful portrait of a young woman, relaxed and lost in thought.

FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.

During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.

She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.

SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.

SOLD.....Portrait of a Gentleman 1743 attributed to ...

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Oil on canvas in reproduction frame.

A portrait of a gentleman, the canvas inscribed 'M V Pinxt 1743' (M V painted this in 1743).

The subject has his right hand tucked into his coat; this was the accepted symbol of the sitter being a gentleman, who did not work for a living, rather than, for example, a prosperous merchant or lawyer.
His left arm rests upon a plinth...this also is symbolic, signifying the architecture of a large house and estate.
The man stands in a straight backed pose wearing a serious expression, this being considered the correct way for a gentleman of wealth and breeding to present himself to the world.

This is a 'textbook example' of mid 18th c. British portraiture.

Almost certainly this gentleman is the husband of the sitter in portrait 8410, 'Portrait of a Lady 1743; attributed to Moses Vanderbank'.

The portrait is very much in the style of JOHN VANDERBANK (1694-1739), especially the rubbed highlights and the treatment of the flesh tones - where a hot pink and cool grey-green are juxtaposed to suggest glowing skin.
These are Vanderbank's 'trademarks' and instantly recognisable.

However, John died four years before this painting was created.
I believe the answer is that the portrait is by his younger brother MOSES VANDERBANK (1695-after1745). He was a pupil of John's and has followed his brother's manner well. John nearly always signed and dated his portraits, it seems that Moses was influenced even by this.
No other works by Moses have survived, apart from three altarpieces in the 12th c. church at Adel, near Leeds.

Moses Vanderbank was even more improvident than his elder brother who was notorious for drunkenness and was said that only intemperance prevented John from being the best portraitist of his generation.
Moses did not have a talent as great as his brother's, but, as can be seen here, he could produce a portrait of charm and competence.

SIZE: 36 x 28 inches unframed

PROVENANCE: an East Anglian Collection for many years.


SOLD...Portrait of a Young Girl c.1700, by ...

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Oil on canvas in 18th c. carved wood frame.

This beautiful portrait is a sophisticated and talented work, endearing in the frank gaze of the child, and technically accomplished...most notably in the skin tones and the treatment of the white linen.
The girl stands before an orange tree, these were an expensive luxury in Northern Europe, coming as they did from the warm South. The tree shows the wealth of the girl's family but 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 ripening fruit represent hope for the future of a family or dynasty.

Robert Byng (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of,and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

Size: 36.5 x 31.25 inches inc. period frame.

Provenance: a Norfolk Private Collection.