Portrait of Anne Frederick 1782, by James ...

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Oil on canvas in original late Georgian gilded frame.
Inscribed and dated 1783 verso.
It was said to have been painted by James Northcote under the supervision of his former master Sir Joshua Reynolds.

Mrs Frederick was born Ann Gregson, daughter of Francis Gregson: she married Thomas Lennox Frederick, son of the Honourable Charles Frederick, Knight of the Bath, in 1773, but they had no children.
Born in London in 1750, Thomas had entered the navy in 1768. He was a lieutenant on HMS Ocean at the time of his marriage.
Anne was known as "an accomplished young lady and famed for her lively witticisms".
Thomas went on to become an admiral, dying in 1779.

Mrs. Frederick was godmother to Charles Bayley, only son of William Bayley. On her death, having no children, this portrait passed to the Bayleys of Stoke Damerall near Plymouth. Northcote had painted Mary Bayley and Richard Bayley at the same time as he portrayed Anne Frederick. The Bayley portraits, framed exactly as this one, were sold at Christie's in 2005 for £8400 and £6000 respectively.

This is a striking portrait showing the very latest fashions of the period, especially the hat. Women’s fashion in the late 1780s was characterised by hats of considerable size, frequently hung with veils and ribbons or decorated by feathers and perched atop a wig. The principal society portraitists all leave a remarkable record of such hats in their work of this period. In Gainsborough’s work the fashion so frequently occurs that this style of headgear is sometimes referred to as a Gainsborough hat. Sir Thomas Lawrence depicts similar fashions.

JAMES NORTHCOTE R.A.(1746-1831) was one of the most prolific portrait painters of the late 18th and early 19th centuries. In 1777, following a period of apprenticeship in the studio of Joshua Reynolds, he journeyed to Paris, Rome and Germany on a prolonged Grand Tour. In Rome he was elected to the Accademia del Forti and, like so many artists before him, took the opportunity to learn from the old masters through sketches and observational studies. On his return to England in 1780, his new found appreciation for the Classical manner increasingly informed his own work.
Northcote had been elected ARA in 1786 and RA in 1787.
His principal talent lay as a portraitist, though forays into the genre of History Painting, notably with 'The Wreck of HMS Centaur' (1784,) helped establish his reputation. Through economic necessity Northcote was compelled to pander to the popular taste for small fancy subjects, 'hack-work' as he called it, illustrating novels from the celebrated authors of the day. An ambitious moral series, entitled Diligence and Dissipation, which was intended to rival Hogarth's Marriage a la Mode (1796) proved a financial failure and Northcote returned to portrait painting in earnest.

SIZE:35.75 x 30.75 inches inc. frame.
*Commissioned from the artist in 1782 for 8 guineas.
*Bequeathed to Charles Frederick Baylay, godson of Mr Frederick.
*Thence by family descent to the present day.

Sold with photocopies of various historical documents (some shown here).

Portrait of a Lady, Possibly Elizabeth Trentham, ...

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Oil on canvas in a good carved and giltwood frame.

The sitter, possibly Elizabeth Trentham, holds, by its chain, a very fine and costly watch; the significance of this is not clear. It is most unusual for a female sitter to be shown with such an item...does it represent the inevitable passing of time? Was it the cherished possession of a deceased male relative? Attached to it is a black ribbon, symbol of mourning.

Regardless of the identity of this lady this is a high quality portrait by an artist strongly influenced by Lely's style of the early 1660s, to the extent of showing the sitter's left hand raising the material of her dress, as Lely often depicted his sitters doing; witness his portraits of Catherine of Braganza, Diana, Countess of Ailesbury and Frances Teresa Stuart.

Elizabeth Trentham was born in 1640, she was the daughter of Francis Trentham. She married Brien Cokayne, 2nd Viscount Cullen of Co. Tipperary, son of Charles Cokayne, 1st Viscount Cullen and Lady Mary O'Brien, before 1 April 1657.
She became Lady of the Bedchamber to Queen Consort Catherine.
She died on 30 November 1713.
(Image 8 shows a portrait of Viscountess Cullen, painted by Sir Peter Lely, at Kingston Lacy, Dorset.)

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Dutch born as Pieter van der Faes, he became Principal Painter to the King, painting everyone of importance and maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 55 x 46.25 inches inc. frame.
PROVENANCE: French Private Collection.
English Private Collection.
Verso: fragmentary old Parisian storage label and two inventory numbers.


Portrait of a Young Gentleman c.1805; Circle ...

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Oil on canvas in original giltwood frame.

In this portrait the light that falls right to left across the sitter's face emphasises the modelling to suggest strength of character and purpose, and with the tousled hair creates a sense of drama. Raeburn's portraits have an understated beauty and sheer physical presence, with a dynamic, romantic quality that matched the spirit of the times.
These, along with an innate grasp of likeness, are the qualities that assured Raeburn's popularity with the gentry of his native Scotland and then - as his reputation spread - with London society.

SIR HENRY RAEBURN (1756-1823) was born the son of a manufacturer in Stockbridge, on the Water of Leith; a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught.
Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn soon he gained sufficient skill to make him decide to devote himself exclusively to painting.

Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the earlier years of the 19th century, and his example and influence at a critical period were of major importance.

In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 Associate, and in the following year full Member of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's Limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh.

Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects.

SIZE: 38.5 x 33.75 inches inc. frame.
PROVENANCE: Private Collection, Dorset

Portrait of a Lady in White 1906 ...

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Oil on canvas in a part gilt frame.
Singed and dated 1906 lower right.
A striking Edwardian portrait of a lady of the early 1900s sitting relaxed in a wing chair.
The treatment of the material is done in a very free manner with a real painterly enjoyment in the use of the medium.

MARGARET KEMPLAY SNOWDEN was born in Leeds, Yorkshire in 1878, (died 1965), the Kemplays and the Snowdens being old, prosperous Yorkshire families. Her parents were Richard Kempley Snowdon, MA Oxon (Clergy), Head Curate of St Johns, Leeds, and Mary Louisa Milnes-Wright, born Collingham, Notts.
Called Margery by the family Margaret exhibited from 1918 to 1938.

Painted in 1906 when Margaret was 28, and 12 years before she started exhibiting, it is likely that the sitter in this portrait was a member of the Kemplay Snowden family, perhaps one of her sisters - Lilla Mary or Ethel Cooper.
In 1881 Margaret lived with her family at 10 Grove Terrace, Leeds - moving to Ledsham Vicarage by 1891 and Harrogate by 1901. Her father had died in 1896 and Margaret and her three sisters were unmarried. Mary Louisa remarried Fairfax Rhodes in 1916.

The London Gazette of 2 Jul 1965 has an entry for Margaret's death for 28 Apr 1965. She was living at Thornecliffe, Lansdown Road, Cheltenham and is described as "Spinster". There is also a BMD record of her death as Margaret K SNOWDON in 1965 in Cheltenham.

SIZE:43 x 35 inches inc. frame.
PROVENANCE: Christie's sale 1996.
Private Collection, London.

SOLD...Portrait of a Lady in White; Studio ...

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Oil on canvas mounted on board in a magnificent 'Duveen' Louis XV style 19th c. carved and giltwood frame of great quality.
(Frame bears an old plaque incorrectly attributing the portrait to Reynolds).

With Gainsborough and Reynolds, JOHN HOPPNER (1758 - 1810) was one of the leading portrait painters in late eighteenth-century Britain. He entered the Royal Academy Schools in 1775, where he won a Gold Medal in 1782. His rapid rise was accompanied by rumours (never denied by Hoppner) that he was the illegitimate son of the future King George III, and it is true that in his education and early career Hoppner benefited from a considerable degree of royal sponsorship. He was brought up as a child of the Chapel Royal, tutored in the Royal Library where King George paid great attention to his progress, and finally presented him with an allowance in order that he might establish himself as a painter.

By the late 1780s Hoppner was a regular contributor to the Royal Academy exhibitions and quickly established himself as a fashionable portrait painter. In 1789 he succeeded Reynolds in his appointment as painter to the Prince of Wales in 1789, many of whose circle he painted.

Though his early works display a great debt to Reynolds, Hoppner soon developed an individual style that is distinguished by bravura and vivacity, combined with a strong feeling of character. These works show a deliberate move away from the classicism of Reynolds, towards a more emotionally engaging and naturalistic image. Hoppner’s success is evident by the fact that he became the only serious rival to Lawrence, and with him was responsible for painting the finest Romantic portraits of the Regency period.

Although this portrait is by an artist painting in the style of Hoppner (rather than by Hoppner himself) he has captured precisely the bravura technique, the bold brushwork, the painterly delight in using the medium and the sense of harmonious feeling which were characteristic of the artist.
While Reynolds’ advised his pupils to rely upon academic study, preparation and drawing, Hoppner preferred to begin working immediately with oils on the canvas. It was precisely this free and fluid approach that allowed Hoppner to capture character, emotion and presence.

SIZE: 56.5 x 46 inches inc. frame
43 x 35 inches canvas size
PROVENANCE: From the London apartment of Laurence Kane, the noted New York decorator.


Portrait of the Hon. William Feilding c.1705; ...

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Oil on canvas in fine carved and giltwood period frame.

FEILDING, Hon. William (1669-1723), of Ashtead, Surrey and Duke Street, Westminster

Born 1669, 2nd son of William Feilding, 3rd Earl of Denbigh. Educated Eton c.1680–6; Queen’s, Oxford 1686.

Feilding, who in 1704 had bought an office with a salary of £500 p.a., made a highly advantageous marriage the following year to a wealthy widow, Lady Diana, daughter of Francis Newport, 1st Earl of Bradford, with a parliamentary seat at her disposal. She had title during her lifetime to the estates of her first husband (with no surviving children to complicate matters) and thereby enjoyed the nomination of one Member at Castle Rising. Feilding obtained the seat in 1705 when a family friend chose to sit elsewhere. It was gossiped before the wedding that ‘this old lady, for she is near fifty if not quite, is fallen in love with this young Feilding, and says she only begs he will be civil to her; she fears he cannot love her, though she does him so much’. Although himself the younger brother of a Tory peer, Feilding was now connected with various Court Whigs among his wife’s kinsmen and her first husband’s friends. He also came into contact with Robert Walpole II, who controlled the other seat at Castle Rising, but this association was not particularly friendly, as the Howard and Walpole interests co-existed in the borough uneasily and in a constant atmosphere of mutual distrust.

In Parliament Feilding was a Whig, with leanings towards the Court. On 18 Feb. 1706 he voted with the ministry over the regency bill. He was marked as a Whig in two lists of 1708. In the same year he resigned his office of lieutenant of the yeomen of the guard. Having supported the naturalization of the Palatines in 1709, the following year he voted for the impeachment of Dr Sacheverell, and on 7 Dec. 1711 he voted for the ‘No Peace without Spain’ motion. He opposed the French commerce bill on 18 June 1713 and voted against the expulsion of Richard Steele on 18 Mar. 1714. In the Worsley list he was classified as a Whig.

Feilding was appointed to the Board of Green Cloth in 1716, most probably through the interest of his wife’s family, the Newports, both at Court and with the clerk of the Green Cloth, their Shropshire ally Sir William Forester. Feilding died at Epsom on 21 Sept. 1723 and was buried at Ashtead. ‘I regret him prodigiously’, wrote his niece, Lady Mary Wortley Montagu, on hearing of his death. His wife outlived him.
{Published in The History of Parliament: the House of Commons 1690-1715, ed. D. Hayton, E. Cruickshanks, S. Handley, 2002. Available from Boydell and Brewer}

IMAGE 6 shows a studio portrait of Feilding, inscribed with his name and further information. We owned and sold this portrait in 2007.

Our thanks to James Mulraine, art dealer and historian, who saved this gentleman from anonymity. www.jamesmulraine.com.

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 typical of Dahl's sensitive portraiture and is of considerable charm.

SIZE:37 x 31.5 inches inc. frame.
PROVENANCE: Collection of Mrs. Pauline Willes, Cypress Cottage, Isle of Wight (image 5).

SOLD....Portrait of Nicholas Fortescue,1627; English School

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Oil on canvas in a period 'cassetta' frame.

Portrait of Nicholas Fortescue, aged 31, three quarter length in a brown slashed doublet, white lace collar and cuffs, with sword and arquebus support. The sitter wears the metal gorget of an officer which contrasts with the very expensive 'reticella' lace he also wears.

The arquebus (sometimes spelled harquebus or hackbut) was a primitive firearm used in the 15th to 17th centuries. Like its successor, the musket, it was a smoothbore firearm although somewhat smaller than its predecessors, which made it easier to carry.The arquebus was fired by a matchlock mechanism and the arquebusier supported the gun's barrel with a pole with a forked end when firing.

Fortescue was born in East Allington in 1596; his father was Edmund Fortescue, born 1552, and his mother, Mary (Maria) Champernoune, born 1567.
Their ancestor Sir Richard le Fort came to England with William the Conqueror and was given the name Fort Escue (strong shield) through having protected Duke William with his shield at the Battle of Hastings in 1066.

The family resided at East Allington in South Devon for many generations; their arms are displayed in the village church of St. Andrew.

SIZE: 38 x 35.5 inches inc. frame.

PROVENANCE: By descent through the Fortescue family to the late Mrs Charles Steuart.
Then to a private collection in an East Anglian
Georgian country house.

With the portrait comes a printout of the the Fortescue family tree from the Norman Conquest to the mid 17th century. Extracted from 'The Visitations of the County of Devon' by Lt. Col. J.L. Vivian, 1895.


SOLD...Portrait of John Campbell, Duke of Argyll ...

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JOHN CAMBELL, 2nd Duke of Argyll and Duke of Greenwich (1680-1743) was a statesman and soldier, he served under the Duke of Marlborough at the Battle of Malplaquet in 1709, becoming Commander-in-Chief in Spain in 1711.
He suppressed the Jacobite Rebellion of 1715, resisting the Earl of Mar's forces at Sherrifmuir, but was then replaced for taking too lenient an attitude to the rebels. He was one of the mainstays of government policy in Scotland until his final dismissal in 1740.

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

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

SIZE:38 x 33 inches inc. frame
PROVENANCE: by descent, Scottish private collection. Verso: early 20th c. trade label: 'Doic, Wilson & Wheatley. Picture Restorers to His Majesty the King. 90 George Street, Edinburgh.'

SOLD....Portrait of Queen Henrietta Maria, After Sir ...

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A fine oil on canvas of the queen of Charles I, copied in 1845 from the painting at Blenheim Palace.
The prime version of this portrait, painted in 1632, and the first portrait of Henrietta Maria by the great artist Anthony Van Dyck is in the Royal Collection. It originally hung in the King's Bedchamber in Whitehall Palace. King Charles authorised a payment of £20 for this painting 'of our royall Consort’.
Another 19th century copy is in the collection of the Duke of Norfolk at Arundel Castle.
The artist William Smith is probably the London based W. Smith, working from 1830 to 1851, who was a portraitist and exhibited nine works at the Royal Academy.

HENRIETTA MARIA of France (1609 – 1669) was the Queen Consort of England, Scotland and Ireland as the wife of King Charles I. She was mother of two kings, Charles II and James II and grandmother of two queens and one king, Mary II, William III and Anne of Great Britain as well as paternal aunt of Louis XIV of France.

Her Catholic religion made her unpopular in England, and also prohibited her from being crowned in an Anglican service; therefore she never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon: when the English Civil War began in 1642, Henrietta Maria was in Europe.
She returned to England in 1643 when she landed in Yorkshire with troops. She joined up with Royalist forces in the north and made her headquarters in York. She moved to Oxford to be with Charles but fled to France in July 1644 following the birth of her youngest daughter, Henrietta Anne, when the position of the Royalists looked bleak; here she remained along with her sons.

Her husband's execution in 1649 was a terrible blow. She brought up her youngest child Henrietta in her own faith, but her efforts to persuade her youngest son, the Duke of Gloucester, to take the same course only produced discomfort in the exiled family.

After the Restoration she returned to England when she found that she had no place in the new world. She received from Parliament a grant of £30,000 a year in compensation for the loss of her dower-lands, and the King added a similar sum as a pension from himself.
In January 1661 she returned to France to be present at the marriage of her daughter Henrietta to the Duke of Orleans.
In July 1662 she set out again for England, and took up her residence once more at Somerset House. Her health failed her, and on the 24th of June 1665, she departed in search of the clearer air of her native country.
She died on the 31st of August 1666, at Colombes, not far from Paris.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE: 47 x 37 inches inc. frame.
PROVENANCE: Oxfordshire Private Collection.
Verso: four old labels and three inscriptions. "Copied by permission of Grace the Duke of Marlborough from the original painting by Van Dyck in Blenheim Palace, by William Smith, 1845" and "Drawing Room, No. 10" being among them.

Portrait of a Lady c.1700, by Michael ...

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

This fine portrait of an attractive young lady is typical of Dahl's sensitive and gentle portraits of a woman.
She wears none of the fashionable accoutrements of her rank...the usual fashionable pearl ear pendants and necklace are absent.
She looks thoughtfully out at the viewer, unlike the swagger and confidence depicted in most portraits of the period here Dahl suggests an innocence and vulnerability, with the wistfully turned head imparting a sense of movement.
In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty. Dahl’s works are frequently distinguished by a harder and more rigorous attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery.

MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

SIZE: 38 x 33 inches including frame.
PROVENANCE: by descent through the family to an elderly lady (who wished to remain anonymous) now moving from a large house. This portrait, dirty and covered in discoloured varnish, was in an unused corridor for many years.

Portrait of a Gentleman late 1920s/early 1930s, ...

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Oil on canvas, unframed.

A sensitive portrait of a young man, identity unknown.
This is a good quality paiinting by an artist of considerable talent, as yet unidentified.
The technique and the casual attire of the sitter are typical of the period and ecocative of that time between the wars when the 'jeunesse doree' flourished...'flappers', sports cars and jazz soon to be overshadowed by the rise of Nazism and young men like the sitter would change their cravats and casual clothes for uniform.

SIZE: 30 x 25 unframed
PROVENANCE: Private Collection, an Elizabethan country house in East Anglia.

SOLD....Portrait of Lady Shepherd c. 1675; Follower ...

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Oil on canvas in good quality carved and giltwood period frame.

A charming painting of a young woman, (possibly Lady Shepherd), typical of its period, by an artist strongly influenced by Lely.

Sir Peter Lely (1618 - 1680) was the dominant Court and Society portraitist of the reign of Charles ll. He was made Principal Painter to the King in 1661, and knighted in 1680.
His influence on the portraiture of the period was immense.

SIZE: 38 x 33 inches inc. frame

PROVENANCE: An Oxfordshire Private Collection.
Verso: an old label 'Lady Shepherd'.