Portrait of Captain Henry Withypoll, 1637; Studio ...

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This is a high quality portrait, oil on canvas, in a fine carved and giltwood 18th century frame. The painting bears the inscription "Capitaie Henerij Whitipol . Major(?) An. 1637"
The inscription has been examined under UV light and, although strengthened, looks original.
The fashionably moustached sitter looks out at us proudly, wearing an officer's silk sash of rank over his armour.

The WITHYPOLLs were a family of very rich merchant adventurers with interests in Bristol and Genoa. Based in Ipswich, owning Christchurch Mansion, now the art gallery.

Sir Edmund Withypoll married Frances, daughter of Sir William Cornwallis of Broke.
Eldest son Sir William (about whom much online); younger son Henry or Harry, baptised Brome 26 Aug 1602.
Between 1646 and 1652 Henry married Mary, daughter of Sir Robert Carey.
His wife's family were much involved in the Netherlands on behalf of the States General.
A letter survives dated 10 Jan 1638, Breda, endorsing Capt. Withypoll.
And in 1646 he was described as "residing mostly in Holland where he has a company of soldiers under him". In 1648 he was elevated to the rank of Major in the English regiments in the service of the Dutch States General.

He had died by 1670.

GERRIT VAN HONTHORST (1592 – 1656) was a Dutch Golden Age painter; born in Utrecht,
He built a considerable reputation both in the Dutch Republic and abroad. Queen Elizabeth of Bohemia, mother of Prince Rupert, sister of Charles I of England, then in exile in the Netherlands, commissioned Honthorst as a painter. Through her he became known to King Charles, who invited him to England in 1628.
After his return to Utrecht, Honthorst retained the patronage of the English monarch, painting for him, in 1631, a large picture of the king and queen of Bohemia and all their children. His popularity in the Netherlands was such that he opened a second studio in the Hague, where he painted portraits of members of the court. These were large studios, where the work of his assistants included making replicas of Honthorst's royal portraits.

SIZE: 37.50inch framed height 3.25inch framed width (95.25 cm framed height 8.25 cm framed width)
PROVENANCE: Collection of Lord Berners, Faringdon House, Oxfordshire. (See last 3 images).

SOLD....Portrait of a French infantry officer 1792; ...

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Oil on canvas in giltwood frame.

Painted just three years after the storming of the Bastille and the overthrow of the French monarchy this is a pleasingly frank portrait of a French officer of the Republican Infantry of the Line; he looks determined but of a good nature.
The unknown artist has used his considerable skill not just to accurately depict the sitter, but also to give the viewer a strong sense of the officer's personality.

Inscribed lower left 'Tanisch a Gle de France en 1792'.
1792 was the year in which the first French Republic was proclaimed and was marked by great military success, expanding the French borders across Europe.

SIZE: 27.75 x 23 inches inc. frame

PROVENANCE: Nottinghamshire Private Collection.
Private Collection of a Fellow of Cambridge University.

SOLD....Portrait of Lady Derwentwater, by Michael Dahl ...

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Oil on canvas in well carved period frame, inscribed upper right 'Lady Derentwater'. (This was the way 'Derwentwater' was pronounced in Cumberland at the time; indeed, some still pronounce it this way today).

This portrait is typical of Dahl’s eloquent depiction of aristocratic women.
The sitter rests her elbow on a stone plinth and supports her head with her hand,the drapery and sitter’s turned head impart a subtle sense of movement, which, combined with the relaxed, even wistful pose helps convey a feeling of tranquillity.
The veil on Lady Mary's head is a feature often used by Dahl, e.g. his portraits of the Duchess of Ormonde, Elizabeth Felton, Lady Hervey and the Countess of Clarendon.

MARY, COUNTESS OF DERWENTWATER (1673 - 1726) was the illegitimate daughter of Charles II of England by his mistress, the actress and singer Mary 'Moll' Davis, a celebrated rival of Nell Gwynn, King Charles' London-born mistress who was also an actress. She was given the title of Lady Mary Tudor.

In the 'Masque for the Entertainment of the King', John Blow's opera 'Venus and Adonis' of 1680, Moll created the role of Venus, while her daughter, Lady Mary, sang Cupid. This was the first English opera.
Charles gave his daughter an annuity of £1500 in September 1683, and she was married to Edward, Viscount Radcliffe, later Earl of Derwentwater, in August 1687.
This prestigious marriage alliance with the ill-fated Stuarts proced to be the downfall of the Radcliffes, who, after the Glorious Revolution, were noted as the most wealthy and powerful Jacobite family in the North of England.
Two of Mary's three sons were to be executed for their parts in the Jacobite risings of 1715 and 1745. James, who died in 1716, was described as being an accomplished singer and guitarist, so perhaps he inherited this from his mother and grandmother...who appears in Lely's portrait of c.1674 playing a guitar.

After the Earl's death on 29 April 1705, Mary married Henry Graham (d. 7 January 1707) on 23 May 1705. After Henry's death she married Major James Rooke (d. 16 June 1773) on 26 August 1707.
She died in Paris on 5 November 1726, shortly after her fifty-third birthday.

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: 38 x 33 inches inc. frame.
*For many years in the Collection of the Seymour family of Wiltshire.
*Sold at Christie's c.1950 and bought by a Somerset family with Seymour connections.
In their possession for c.57 years.
*Then another Somerset private collection.

VERSO: old label with information on the Derwentwaters and the inscription "From The Times Octbr 13 1874. C.H. Seymour"

Bristol Delft charger c.1750-70

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A rare and beautiful Delft charger in the Chinoiserie taste, painted by the famous pottery artist John Bowen, or one of his pupils. Bowen co-owned a pottery with Richard Frank at Redcliff Back, Bristol 1750-1770. There is an identical charger in the collection of The Krannert Art Museum, Illinois, USA.
Although it was broken into three pieces in the past, it is secure, albeit mended with rivets, glue, plaster tape and masking tape!
Verso: two old labels 'Bristol c1760-70', and a much older one with the price '£1/1/-' … a guinea.

SIZE: 13 inches in diameter.
PROVENANCE: a private collection for the last 45 years.

SOLD...Portrait of a Noblewoman c.1710; Circle of ...

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

Painted within a feigned oval the young lady, wearing her fashionable 'undress' robe, looks directly at the viewer in a confident, almost appraising, manner. She is almost certainly a member of the Manners family of Haddon Hall and Belvoir Castle; the ancient family of Manners is headed by the 11th Duke of Rutland.
Unusually, for this period, the sitter wears a large diamond hair clip. (Until the 19th c. all diamonds were flat or table cut and thus appear as black gems in portraiture).
A well painted portrait, very strongly influenced by Kneller, and absolutely typical of its time.

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: 30 x 25 inches canvas size
36.5 x 31.75 inches inc. frame

PROVENANCE: By descent within a branch of the Manners family.

SOLD.....Portrait of Mother and Child c.1795-1800 by ...

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Oil on canvas in period giltwood frame.

This tender double portrait of a mother and her daughter is beautifully composed and executed. The mother sits in a mahogany armchair, her daughter on her lap, with a stone column in the background and a fragment of landscape beyond.
The positioning of the sitters arms and heads sweeps the viewer's eye round in an embracing circle within which is a timeless display of love and affection of a mother and her child.

At the base of the column is the signature "Weaver". There was a portraitist, M. Weaver, working in Bath who is documented as paying a visit to Ireland in 1766/67, but this is all that is recorded of him.
Whether the artist is that Weaver or another is purely academic, what matters is that the artist had considerable talent and insight into the humanity of his sitters, and thus was able to express this love without in any way being overly sentimental.

In his painting style he was clearly influenced by the fashionable John Hoppner.
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.

SIZE: 33 x 26.25 inches inc. frame.
PROVENANCE: English Private Collection.
VERSO: old framer's label for A. R. Skillen & Co. Bloomsbury.

Portrait of Dr. John Wigan c.1732; Circle ...

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Oil on canvas in a 19th century ornate frame.

Dr. JOHN WIGAN (31 January 1696 – 5 December 1739) was a prominent British physician, poet and author of the early eighteenth century whose writings and translations were popular and widely referred to during the period. He served as principal of New Inn Hall at Oxford University between 1726 and 1732 and was physician of Westminster Hospital between 1733 and 1738. In 1738 he travelled to Jamaica with Edward Trelawny and died there a year later in December 1739.

John Wigan was born in 1696, the son of William Wigan, rector of Kensington. At 14, Wigan was admitted to Westminster School and from there moved to Christ Church, Oxford where he obtained his BA, MA And MD.
In 1726, during his final year of studies he was made principal of New Inn Hall and was already a celebrated writer on medical topics and poet.
His 1723 translation of the works of Aretaeus of Cappadocia was widely remarked on and was used as the basis of Herman Boerhaave's work on the same topic. His poetry was well received and was published in the "Carmina quadragesimalia" and elsewhere.

In 1731, Wigan was admitted to the Royal College of Surgeons and moved to Craig's Court in London. In 1733 he was elected to the post of physician at Westminster Hospital which he retained until 1738, when he travelled to Jamaica with old friend Edward Trelawny. Trelawny settled in Spanish Town, and Wigan married Mary Wheeler, daughter of planter John Douce soon afterwards. The couple had one daughter. In late 1739, Wigan died at Spanish Town and was buried under a black marble slab at St Catherine's Cathedral Church.

A portrait of his daughter Mary Trelawney Wigan was sold on this website and can be seen in 'portraits sold'.

Another version of this portrait is in the Primary Collection of the National Portrait Gallery, purchased in 1967, inventory no. NPG 4588.

In this portrait Wigan gestures towards a book on his left, this is the complete edition of John Freind's Latin works, with a Latin translation of the History of Physic, edited by Dr. John Wigan, and published in London in 1732. Parts of the words "Freind" and "Opera" can just be seen, i.e. "The Work of Freind".

(Freind, in 1716, had become a fellow of the Royal College of Physicians, delivered the Goulstonian Lectures in 1717, was chosen one of the censors in 1718 and Harveian orator in 1720. In 1722 he entered the House of Commons as Member of Parliament for Launceston in Cornwall; but, being suspected of favouring the cause of the exiled Stuarts, he spent half of that year in the Tower.
During his imprisonment he conceived his major work, The History of Physic, of which the first part appeared in 1725, and the second in the following year. Included in this volume was a paper by Dr. Henry Levett, also written in Latin, addressing the treatment of smallpox.
In 1726 Freind was appointed physician to Queen Caroline, an office which he held till his death.)

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.
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: 59 x 48.5 inches inc. frame.
PROVENANCE: by descent in a Yorkshire Private Collection.
Verso. Old handwritten label "Dr. John Wigan. ob. 1739"

Delft charger, 18th century.

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A very attractive hand-painted Delft charger, probably Bristol c.1760, some typical slight fritting to the rim. As can be seen in Image 3 the plate has been broken and then repaired using rivets; this was a skilled task and shows that at the time of the repair the charger was highly valued.
13.5 inches in diameter.
PROVENANCE: Gloucestershire private collection.

SOLD...Portrait of Thomas Cookson c.1735, by Jonathan ...

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Oil on canvas in 18th c. giltwood frame.

The sitter was a member of the Cookson family of Cumberland and Yorkshire; he died in 1773.
Thomas's father William (died 1743) was a wealthy merchant and pewterer in Penrith. He married Susannah Idle in 1701.
The Cooksons also owned ironworks and colleries. Thomas's uncle was the Reverend Joseph Cookson, Vicar of Leeds.
The poet William Wordsworth's mother was a Cookson.

This portrait, with seven others of the Cooksons hung in Keith Hall, Aberdeenshire, home of the Earls of Kintore. It can only be presumed that there was some marital conection between the families, as why else would a powerful aristocratic Scottish family dating back to the 12th century have eight portraits of an English mercantile middle-class family hanging in their ancestral home?

The sitter, Thomas Cookson, expensively bewigged and wearing the fashionable silk wrap of a gentleman at leisure, looks rather inquiringly at the viewer. He seems at ease, and his build and ruddy complexion indicate a man who enjoyed good living.
The face is beautifully painted and a strong sense of the character of the sitter is present; absolutely typical of Richardson's mature English style.

JONATHAN RICHARDSON c.1665 - 1745 was the leading native born painter of the first forty years of the century, also a writer on art and literary topics. He was a pupil of Riley 1688-91 and helped found the 1711 Academy; he and Jervas were the busiest English portrait painters in rivalry with Kneller and Dahl. Jervas excelled with women's portraits and Richardson with men.
His works, like the example here, are solid, sound, good likenesses, and unpretentious.

SIZE: 39 x 32 inches inc. frame
PROVENANCE: By descent to the 14th Earl of Kintore of Keith Hall, Aberdenshire.

(The fourth photograph shows Keith Hall as it is today.)

Portrait of Anne Keck c.1715; Attributed to ...

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Oil on canvas in a gilt frame.

The sitter is traditionally called Anne Keck (nee Busby), who was a member of the wealthy and landed Keck family.
Stoughton Grange and estate, owned by the Beaumonts, passed to Anthony Keck of Lincolns Inn as his wife was Anne Busby of Beaumont, daughter of William Busby and Catherine Beaumont his wife. They had a son Anthony James Keck who became a politician and married Elizabeth Legh (daughter of Peter Legh of Lyme). The couple lived at Stoughton Grange and had six children, the only son to survive and inherit was George Anthony Legh Keck who lived at the house until he married his cousin Elizabeth Atherton in 1802 so that he could inherit the family’s Bank Hall estate in Lancashire. It was following the marriage that he moved to Bank Hall which he later renovated in 1832 and used Stoughton as a second home. Legh Keck remained a member of parliament for Leicestershire and frequently travelled between the estates. Upon the death of Legh Keck his brother-in-law Thomas Powys, 3rd Baron Lilford, inherited his estates, but also died a year later.

In 1871 Harry Leycester Powys Keck lived at Stoughton Grange and was High Sheriff of Leicestershire. Powys Keck was the last line of the family to live at the house until 1913 when the house was put up for sale. The house was not sold and it remained unoccupied until it was demolished in 1925–6. However, Powys Keck moved away after the Stoughton estate was bought by the Co-operative Wholesale Society Ltd. in 1919 the site of the mansion was then known as Grange Farm, the centre of the society's dairy-farming in Leicestershire.

VERSO: old storage label for Jordan and Cook Ltd of the Worthing Pantechnicon. Item numbered 15, owner Mrs. Powys-Keck. 13-7-65.
See Stock No.8847 for another portrait from the same family collection.
This Mrs. Powys Keck is almost certainly Joyce Hills, the daughter of Albert Hills. She married Thomas Leycester Powys Keck of Stoughton Grange, Leicestershire on 5 November 1949. He died aged 39 in 1959. Mrs. Powys-Keck was living in Littlehampton, Sussex at the beginning of the 21st century.

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

Our thanks to James Mulraine, art historian.

SIZE:34 x 29 inches inc. frame.
PROVENANCE: *Collection of Mrs. Powys-Keck.
*Norfolk Private Collection.

Portrait of Sir Edward Villiers c.1625, by ...

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Oil on canvas in appropriate reproduction frame.

SIR EDWARD VILLIERS (c.1585 – 7 September 1626) was an English nobleman, diplomat, office-holder, knight, and politician from the powerful Villiers family.

He was the second son of Sir George Villiers by his first wife.
By his father's second marriage he was a half-brother of James I's favourite, George Villiers, 1st Duke of Buckingham.
Villiers was knighted on 7 September 1616. In October 1617, he succeeded Sir Richard Martin as Master of the Mint (until 1623), and in November 1618 he became Comptroller of the Court of Wards. From 1623 until his death he was Warden of the Mint

On 30 December 1620 Villiers was elected as one of the members of parliament for Westminster. In August 1625 he asked the Commons to prevent a dissolution by desisting from their attack on his half-brother Buckingham.

Meanwhile, James I, in January 1625, appointed Villiers Lord President of Munster; the appointment was confirmed by Charles I on 6 May, and in August Villiers went to Ireland to assume his duties. He held the post little over a year, and was absent for several months during that period.

Villiers died in the college of Youghal, which he made his official residence, on 7 September 1626; he was buried in St. Mary's, Youghal.

Villiers had married, circa 1612, Barbara St John, daughter of Sir John St John of Lydiard Tregoze, Wiltshire and Lucy Hungerford, daughter of Sir Walter Hungerford of Farleigh Castle, Somerset, by whom he had ten children.
Villier's eldest son was William Villiers, who succeeded as 2nd Viscount Grandison in 1630, and was father of Barbara Villiers, Duchess of Cleveland, mistress of Charles II.

GEORGE GELDORP, also known as Georg or Jorge (1580/1595 - c. 1665) was a Flemish painter who was mainly active in England where he was known for his portraits and history paintings.

He was the son of the Flemish portrait painter Gortzius Geldorp who lived and worked in Cologne. Geldorp first trained and worked as a painter in Cologne before being admitted as a Master in the Guild of Saint Luke in Antwerp in 1610. In 1623, Geldorp moved to London where he painted a number of portraits in the Anglo-Netherlandish style, notably of William Cecil, 2nd Earl of Salisbury and his wife Catherine in 1626 and of Sir Arthur Ingram in late 1638/early 1639.
He was involved in organizing commissions in England for Flemish and Dutch artists including Rubens, Anthony van Dyck and Peter Lely. Upon the Restoration, he assisted with the reconstitution of the art collection and possessions of the English Royal family and was rewarded for his services with the post of picture mender and cleaner to the King
Geldorp was also active as a collaborator and copyist of Anthony van Dyck and later Peter Lely.

SIZE: 34.25 x 30.5 inches inc. frame.
PROVENANCE: Private Collection, Abingdon, Oxfordshire.


SOLD...Portrait of a Lady c.1785, thought to ...

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A sensitive and charming portrait in pastels of a beautiful young lady believed to the Duchess of Devonshire c.1785; attributed to John Russell (1745 - 1806).

Georgiana, Duchess of Devonshire (1757-1806), was born Lady Georgiana Spencer (ancestress of Lady Diana Spencer, Princess of Wales). She married the Duke of Devonshire in 1774 and became the undisputed queen of fashion, a famous beauty, an influential hostess and an important figure in the politics of the time.

Russell was born in Guildford, son of the Mayor, and educated at Guildford Grammar School. He studied crayon drawing with Francis Cotes until 1767; he entered the Royal Academy School in 1770 where he was a Silver Medallist. He was elected ARA 1772, RA 1778.
Based in London, he toured the provinces producing attractive crayon portraits and the occasional oil. He published 'Elements of Painting with Crayons' in 1772 and was appointed Crayon Painter to the King and to the Prince of Wales in 1790.

Russell was a keen astronomer; he inherited a large estate in 1781.
After 1790 he worked mainly in Yorkshire, dying of typhoid in Hull in 1806. He is buried beneath the choir of Holy Trinity, Hull.

Russell's paintings are in the National Portrait Gallery; the Royal Collection; the British Museum etc etc.

SIZE: 35 x 26.5 inches inc. frame.
29 x 20.5 inches unframed.

PROVENANCE: Devonshire Private Collection.