George III mahogany chest of drawers c.1795/1800. ...

Item Ref

A good quality Late Georgian chest of drawers in mahogany with boxwood stringing and rosewood banding.
The drawers are oak lined and have their original brasses.
The backboards have been replaced and the feet are later restorations. The chest is a good colour but, as is to be expected with a piece of furniture in daily use for over 200 years, they are some marks and discolourations.
It would be an easy job to resurface the chest but many prefer signs of its history and usage to remain.

DIMENSIONS: 42 inches wide, 21 inches tall, 40 inches tall.
PROVENANCE: Sussex Private Collection.

Portrait of a Young Lady; Attributed to ...

Item Ref

Oil on canvas, now mounted on board.

This is a charming and sensitive portrait of a very attractive young woman; she looks to her right, her head slightly raised, apparently lost in a reverie.
It is painted with Paice's characteristic broad brush strokes, and, in the treatment of the dress fabric, there is a painterly delight in the bravura brushwork.

PHILIP STUART PAICE (1884-1940) "Painted highly competent portraits" (Dictionary of Portrait Painters in Britain up to 1920).
Paice was born in London, son of the artist George Paice. Awarded a Landseer Scholarship, he studied at Heatherleys and the Royal Academy Schools from 1905 to 10. He was Art Master at Denver, Colorado, USA and then at The Birkenhead Institute. He exhibited once at the Royal Academy, 20 times at the Walker Art Gallery, Liverpool and 23 times at the Royal Cambrian Academy. At the time of his death he was living in Cheshire.

SIZE: 29 x 24.25 inches including the frame.
PROVENANCE: Wiltshire Private Collection.
Verso: Trade label for Garve Hessenberg BA of Oxford, conservator.

Portrait of Lady Mary Villiers C.1640; Attributed ...

Item Ref

Oil on panel in gilded frame.
This is a superb quality portrait in fine condition. The elaborate frame is in the French style and presents this lovely portrait like a jewel in a rich gold setting.
A reduced version of Van Dyck's original. These small size portraits after Van Dyck were the speciality of Russell and of Van Leemput.

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.

Aliases: Theodore Rousel; Theodore Rousseel; Theodore Roussel; Theodore Russel.
Born in London, his father, Nicasius, was a goldsmith and jeweller, who left Bruges for England about 1573 and settled in the parish of St Anne, Blackfriars, London; his second wife, Theodore’s mother, was the sister of Cornelis Jonson van Ceulen.
The Russells were connected with the Gheeraerts, de Critz and Oliver families. Theodore’s son, Anthony Russell, who provided George Vertue with information concerning 17th-century artists, stated that Theodore had studied under Jonson and van Dyck, who much influenced his style. he had been employed by such patrons as the 3rd Earl of Essex and the 1st Earl of Holland, and ‘was a lover of ease & his Bottle’.

SIZE: Panel, 15.5 x 12.5 inches
Frame: 25.5 x 21 inches
*Old collection of a titled family, North Yorkshire.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.

Walnut cushion framed mirror c.1690.

Item Ref

A good William and Mary walnut cushion framed mirror c.1690.
Bevelled mirror glass old but not original; backboard missing. Good colour.

SIZE:20 x 15.25 inches inc. cresting.
Mirror size 11.5 x 10 inches.

Portrait of Anne Parker by Fredrick Percy ...

Item Ref

Oil on canvas in a period giltwood frame. Signed and dated 1879 verso.

This lovely portrait of the beautiful Anne Parker is a reduced size copy of the large (50 x 40 inches) 18th century original by the famous Joseph Wright A.R.A. (Wright of Derby).
Anne, her hair dressed with pearls, looks pensive and touches her wrist band which would have contained a miniature of a loved one. Her dog, also a symbol of loyalty and faithfulness, looks soulfully up at her.

ANNE PARKER (1768-1807), daughter of Robert Parker of Cuerden and his wife Anne Parker (née Townley of Royle Hall, Lancs) she married Richard Crosse who took the name and arms Legh of Adlington on inheriting from a cousin. Mother of Thomas Legh; Richard Townley Legh; Jane Legh; Sister of Banastre Parker and Thomas Townley Parker.

FREDERICK PERCY GRAVES (1837-1903) London address.1859-1872 Exhibited 25 works at The Society of British Artists, and 6 at The Royal Academy.

SIZE: 32 x 27 inches including the frame.
PROVENANCE: Verso: inscribed ' From Cuerden copy by Graves of portrait by J Wright (1734-96), about 1777-85 of Anne Parker. By descent note to verso: Anne Parker (1768-1807) daughter of Robert Parker of Cuerden and his wife Anne Parker (née Townley of Royle Hall, Lancs) she married Richard Crosse who took the name and arms Legh of Adlington on inheriting from a cousin. This copy by Graves in 1879 was of an original by Joseph Wright (1734-96). The original descended in the Crosse family. The copy came from Cuerden (the Parker family) to their descendant Helen Townley Crockatt (née Tatton).


Triple Portrait of The Hon. Mrs. Denham ...

Item Ref

Oil on canvas in giltwood frame, signed and dated "Edward Hughes 1896" lower left, on the stone plinth.

This superb triple portrait shows the Honourable Mrs. Denham-Cookes and her children Arthur Brownlow and Clara Evelyn in their garden at 16 Princes Gate, London. (This house is now the Iranian Embassy and is famous for its siege and capture by the SAS in 1980).

Their father was Colonel George Denham-Cookes, and his son Arthur followed him into the army, becoming a captain in the 24th Battn. London Regiment.
Prior to this he had become an M.A. Trinity Hall, Cambridge and a Member of the Inner Temple.
Arthur had married, in 1916, Ursula Bloom, the novelist, and in 1917 they had a son, Pip Denham-Cooke. Tragically, having survived the First World War, Arthur died of influenza in November 1918 aged 27.

EDWARD HUGHES (1832–1908) was a highly successful painter who exhibited at the Royal Academy, The British Institute, and The Grosvenor Gallery, displaying over the period from 1847 to 1892 a total of 69 works. He is best known for his genre pieces in the manner of Thomas Faed and in his later career for his portraits of the aristocracy, which strongly recall the ‘fancy’ pictures of J. E. Millais. Feted by the Victorian elite, Hughes’s art commanded high prices; his early work displayed a Pre-Raphaelite attention to detail, and his pictures produced in the final parts of the century are lavish and showy in the manner of Victorian impressionism, with a flamboyant emphasis on bright tones and light effects.

Both idioms embody a sharp understanding of the subject. Hughes was admired by his fellow-artists and drew approving comments. Millais – whose work he imitated – was thoroughly impressed, noting how many artists could draw a man, but Hughes was distinguished by his capacity to ‘paint a portrait of a lady'.
{Simon Cooke, Ph.D The Victorian Web.}

SIZE:52 x 46 inches inc. frame.
PROVENANCE: by direct descent through the family.

Portrait of Princess Henrietta Anne Stuart c.1665, ...

Item Ref

Oil on canvas in carved and giltwood period frame.

Princess Henrietta Anne Stuart, Duchess of Orleans (1644-1670) was painted by Sir Peter Lely a number of times. Other versions of this portrait are at Goodwood House in the Collection of the Duke of Richmond and Gordon, and a quarter length in the National Portrait Gallery.This superb portrait, which has been in a private collection for at least the last 50 years, has recently had old discoloured varnish removed and been expertly conserved.
It was previously thought to be entirely painted by Lely's studio, copying the master's original. However, now the exquisite brushwork can be seen clearly.
Catherine MacLeod, Senior Curator of Seventeenth-Century Portraits at the National Portrait Gallery, and the acknowledged expert on Lely's work, remarked in particular on the quality of the yellow drapes and the hands, saying this was likely to be Lely's work. (This on the strength of images, so the usual caveat applies). Adam Busiakiewicz, art historian, is of the same opinion.

Princess Henrietta Anne Stuart was the youngest daughter of King Charles I of England, Scotland and Ireland and his wife, Henrietta Maria of France. Fleeing England during the Civil War with her governess at the age of three, she moved to the court of her first cousin Louis XIV of France. After she married Philippe I, Duke of Orléans, brother of King Louis XIV, known as Monsieur, she became known as Madame. Her marriage was marked by frequent tensions.
Henrietta travelled to England to negotiate the Secret Treaty of Dover which would ultimately be the direct cause of the Third Anglo-Dutch War. Only a few days after returning to France Henrietta, who had been complaining of intermittent pain in her side since 1667, collapsed after drinking a glass of chicory water and died; many, including the victim, believing she had been poisoned.
Jacobite claims to the throne of Great Britain following the death of Henry Benedict Stuart descend from her through her daughter Anne Marie, Queen of Sardinia.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. His work was strongly influenced by that of Sir Anthony van Dyck. 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 Studio, many of them talented artists in their own right, went on to establish independent careers.

SIZE: 52.5 x 43 inches including the frame.
PROVENANCE: English private collection for at least the last 50 years.

Portrait of Thomas Selkeld 1836, by William ...

Item Ref

Oil on canvas in original gilded frame.

A good portrait of the William IV period; Thomas Selkeld, elegantly dressed, regards the viewer with a direct, slightly quizzical, look.

The SALKELDS are an ancient and notable family who have occupied all levels of society.
The Salkeld name is a locative one derived from Great and Little Salkeld, two villages situated in the Eden valley in Cumberland between Carlisle and Penrith. Like a number of Lakeland names Salkeld comes from the Old Norse and means ‘Willow wood’. There were early Salkelds settled in Addingham, near Little Salkeld in the Eden valley by the 13th century.

Among the many mistranscriptions there are five variant spellings which are notable for their consistency and number of occurrences. These are: Salkield; Salkilld; Sawkill; Soakell and Sokell. The closer you get to Cumberland, the less variations there are, and of the above, Salkield is principally in County Durham, Sawkill equally divided between Durham and Yorkshire, Sokell mainly in Yorkshire and Salkilld in London. It is not uncommon however to find Salkeld and one or more variants in the same parish.

Gifts from the King saw the Salkelds settled in Corby Castle on the river Eden. Sir Richard Salkeld, Lord of Corby married Jane Vaux of Catterlen in the mid 15th century. Their effigies are in Wetheral church, opposite Corby Castle. They had no male heirs, but the two eldest daughters married male cousins and kept the noble line going.
In the early 17th century Lord William Howard, son of the 4th Duke of Norfolk had made over to him Corby Castle from the Salkelds, in settlement of a debt.
Lancelot Salkeld was the first Dean of Carlisle cathedral and erected the Salkeld screen, which you can see in the cathedral to this day.

THOMAS SALKELD was the son of Thomas Salkend (born 1778), a farmer of 35 acres, and Hannah Nicholson (born 1775), and he was born in 1803, making him 33 at the time of the portrait.
Thomas was a solicitor and lived in Appleby in a large Victorian house which is now the HSBC. He was a Town Councillor in 1849.
The family maintained an apartment in this building to the present day, and this portrait came from there.

Our thanks to Keith Salkeld for his help.

WILLIAM BELL SCOTT 1811-1890 was a Scottish artist and poet, but little else is known of him at this time. Clearly he was a talented and perceptive artist and is worthy of more research.

SIZE:42.5 x 37.5 inches inc. frame.
PROVENANCE: By descent.

Portrait of Justina van Teylingen c.1613; Studio ...

Item Ref

SOLD....Oil on panel in reproduction frame of correct type.

JUSTINIA VAN TEYLINGEN (1596- 1643) was married to Adriaen de Kies van Wiessen in 1613 when she was seventeen.
This is a contemporary half length version of the three-quarter prime version painted by van de Voort to commemorate her marriage. Studio versions were often made as gifts for relatives.

CORNELIS VAN DER VOORT or van der Voorde (Antwerp 1576 - Amsterdam 1624) flourished as a portrait painter in Amsterdam from around 1614 to his death in 1624.
This painting is an excellent example of his portraits popular with wealthy Dutch burghers. Justinia is soberly but richly dressed in a lace-trimmed cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, embroidered stomacher, black skirt and long black vlieger overgown. The latter denotes that she is a married woman and was worn with great pride. A heavy gold chain hangs from her neck.
Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.

The artist invests the portrait with great dignity. He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex golden stitches which create the pattern of flowers and leaves on the stomacher.
Black was the high fashion of that era and this portrait rises to the challenge of painting black on black to depict the floral pattern of the vlieger overgown. Standing solidly in space, beautifully moulded by light, the portrait has a lively human presence. The armorial bearings of Justinia and her husband are depicted in the background.
Van de Voort's work was in great demand and held in high esteem. In 1619 Van der Voort was the head of the Guild of St. Luke. He had a strong influence on the early portraits of Rembrandt, as well as the work of Nicolaes Eliasz. Pickenoy and Thomas de Keyser. His own students included David Bailly, who copied his collection of paintings, Pieter Luyx, Dirk Harmensz. and probably Pieter Codde...all artists of note.
SIZE: 36.5 x 31.5 inches inc. frame PROVENANCE: French private collection. Verso: an indistinct red wax collection seal.

SOLD....Portrait of Marie Mancini by Jacob Ferdinand ...

Item Ref

SOLD...Oil on canvas in a carved and giltwood Louis XIV style frame.

This beautiful portrait shows Voet's skill at its finest; sensitive, sensual, insightful and with a real sense of the sitter's presence.

Although the stretchers are inscribed with the name Marie Anne Mancini, Duchesse de Bouillon, the portrait is far more likely to be Marie Mancini (Anna Maria Mancini).
The name Pierre Mignard is also inscribed but the artist is without doubt Jacob Voet.

MARIE MANCINI, Princess Colonna and Vicerein of Naples and Aragon (Anna Maria Mancini; 1639�1715) was the middle of the five Mancini sisters, nieces to Cardinal Mazarin who were brought to France to marry advantageously. "Dark, vivacious and beautiful,"(Sir Oliver Millar) Marie captured the biggest prize of the French court: the love of Louis XIV.
Marie did not consummate her relationship with the Sun King. His love for her was a somewhat idealistic one, but he was so besotted that he wanted to marry. Eventually, Cardinal Mazarin and Anne of Austria separated the couple, banishing Marie into exile and arranging Louis' marriage to his cousin, Maria Theresa of Spain.
In 1661, Marie was married off to the Italian Prince Lorenzo Onofrio Colonna, who remarked after their wedding night that he was surprised to find her a virgin as one does not normally expect to find 'innocence among the loves of kings'. (from Antonia Fraser's book 'Love and Louis XIV'). They had three children, all sons. After the birth of her third child, relations between Marie and her husband deteriorated. On May 29, 1672, fearing that he would kill her, Marie left Rome accompanied by her sister Hortense.
In 1677, in order to support herself, she wrote her memoirs. She did not return to Italy until her husband's death in 1689. She died in Pisa and is buried in the church of the Holy Sepulchre there.

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. 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 very striking, memorable eyes, always large and evocative.
SIZE: 17.75 x 15 inches (unframed) 23 x 21 inches inc. frame.
PROVENANCE: French private collection. Verso: red wax collector's seal, probably 18th c. Various incorrect inscriptions, most likely early 20th c.

Portrait of Peregrine Bertie, Marquess of Lindsey ...

Item Ref

Oil on canvas in the original carved and giltwood frame.

This is a charming portrait, typical of its time and of D'Agar's work.
To the right of the sitter is depicted what seems to be a rather burly lamb in an oval, gazing up at the marquess. inspired suggestion from collector and connoisseur Richard Grigson:
"Might it perhaps be a RAM? Leaving aside the festoons of titles, the underlying coat of arms of the Berties of Grimsthorpe Castle featured three battering rams. Could this not be a rebus of the punning kind playing upon their motto 'virtue is stronger than the ram', with a ram looking at his, by implication, virtuous master?"

This image had been painted over but was revealed during the conservation, it is unquestionably original.

PEREGRINE BERTIE, MARQUESS OF LINDSEY, later 2nd Duke of Ancaster and Kesteven. Born 1686, died 1742. Son of Robert Bertie, 1st Duke of Ancaster and Kesteven. Married Jane, daughter and co-heiress of Sir John Brownlow Bt. of Belton.
Vice -Chamberlain to Queen Anne, M.P. for Lincolnshire 1708-1715. He was appointed a Privy Counsellor in 1723.
Lord-Lieutenant of Lincolnshire in 1723 and Lord Warden and Justice in Eyre, North of Trent between 1734 and 1742.

Children of Peregrine Bertie, 2nd Duke of Ancaster and Kesteven and Jane Brownlow:-
Lady Jane Bertie
Lady Caroline Bertie3 d. 8 Jun 1774
Lady Mary Bertie
unknown daughter Bertie
General Peregrine Bertie, 3rd Duke of Ancaster and Kesteven b. 1714, d. 12 Aug 1778
Brownlow Bertie, 5th Duke of Ancaster and Kesteven b. 1 May 1729, d. 8 Feb 1809

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. D'Agar's manner is directly comparable in style to Michael Dahl. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.

SIZE: 37 x 32 inches inc. frame.
PROVENANCE: By direct descent in the sitter's family to Montague Peregrine Albemarle Bertie, 12th Earl of Lindsay (1861-1938), and by descent to his daughter, Lady Muriel Felicia Vere Barclay-Harvey (1893-1980) of Ayton Castle, Berwickshire.
VERSO: A copperplate extensive inscription about the sitter, also that it was written in 1889, was No. 7 in the inventory, and hung in the Drawing Room.
The original canvas bears an 18th century inscription of sitter and artist. The painting had never been lined, but it was now necessary to do so. A transparent lining has been used so the inscription is not lost. This is protected by board bearing a photographic image.

SOLD....Portrait of a Young Nobleman c.1635; Attributed ...

Item Ref

Oil on canvas in gilded frame.

The unknown young aristocrat, in what seems to be Court dress, wears an absolute fortune in clothing; sumptuous silk, satin and lace decorated with fine embroidery, even the inside of his cloak is richly ornamented.
In his left hand he holds his fashionable hat and in his right a document which seems to have some form of plan drawn on it...posible referring to the event this portrait was painted to commemorate.

GILBERT JACKSON (active 1621-1640) was an itinerant portrait painter who seems to have worked in North wales in the 1630s. He also had an academic clientele in Cambridge and Oxford.
Jackson was made a Freeman of the Painter-Stainers Company, London in 1640.
His work, like this one, tends to be highly finished, with an eye for detail and although it follows in the manner of Cornelius Johnson it retains a charmingly naive quality.

SIZE: 45.5 x 38 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.