Portrait of a Young Girl with a ...

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Oil on canvas in the original fine carved and giltwood frame.

This is an extremely charming portrait of a wealthy young girl. The sitter, fashionably and casually draped in what was known as 'undress', points her hand towards a parrot .. a cockatoo.. these were expensive and exotic birds, thus displaying the wealth of the family. Also, in portraiture and contemporary literature, parrots, which could be trained to speak and perform tricks, were used as examples of the love of learning to which children should aspire. The sitter holds cherries which were a symbol of future fruitfulness and and also associated with the Virgin Mary.

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 was especially noted for his portraits of children.
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 31.5 x 29 x 2 inches.
PROVENANCE: A long established Private Collection in the North of England (deceased estate)

Carved wood and gilt frame c.1750.

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This is fine quality hand-carved frame c.1750, recently sympathetically restored. English, but influenced by the French style; running pattern with small-scale foliage corners. A work of art in its own right.
This frame is for the classic portrait size, sight-line 30 x 25 inches. It would also make a splendid mirror frame.
SIZE: 38 x 32.5 x 2.5 inches.
PROVENANCE: Lord Berners, Faringdon House, Oxfordshire.

Bristol delft bowl c.1760.

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A unusual and attractive Bristol delft shallow bowl (or dish) c.1760, painted with a Chinoiserie river scene in shades of blue, manganese and green.
In excellent condition with only slight 'nibbles' to the rim.
SIZE: 8.75 inches diameter; 1.75 inches tall.
PROVENANCE: The Collection of Sir William Whitfield CBE, St Helen Hall, County Durham. (Image 4)

Bristol delft charger c.1760

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A good quality delft charger or large dished plate, c.1760, Bristol, painted in the highly fashionable Chinoiserie manner. As usual with delftware there is minor fritting to the edges.
SIZE: 14.5 inches in diameter.
PROVENANCE: The Collection of Sir William Whitfield CBE, St. Helen Hall, County Durham. (see image 5)


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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.

A Riverside Town c. 1780; Dutch School. ...

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Oil on canvas in the original giltwood frame.

A charming Dutch painting in the Italianate style that was fashionable with Dutch artists from the mid 17th century into the 19th. Inspired by the sophisticated compositions of the Italian masters this, as yet unknown, artist has filled his scene with warm, Mediterranean light.
Italianate landscapes were the most influential and highly regarded.
From the 17th century a trip to Italy was considered an important part of an artist's training. Dutch painters went there to study the landscape, ancient ruins and sculptures, and the unique light. On their return to the Netherlands, many of these artists continued to paint Italianate landscapes, others adapted what they had learnt to suit the Dutch taste for religious and secular paintings.

SIZE: 17.5 x 20.5 inches inc. frame.
canvas: 14 x 16.5 inches.
PROVENANCE:Private Collection, Oxford.

Portrait of a French Nobleman c.1700; Studio ...

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

The aristocratic sitter holds a typical Baroque swagger pose, his right hand on a pile of books of which one is 'Regie de 1700' (Government of 1700).

HYACINTHE RIGAUD, (1659 - 1743), was one of the most important portrait painters during the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him.He and his friendly rival Nicolas de Largillière were their era's leading portraitists, but Rigaud painted aristocrats while Largillière concentrated on the wealthy bourgeoisie. Their differing approaches reflect their clients' status. Rigaud's sitters are shown in elegant stances of natural superiority; they are members of society whose costumes and gestures describe their function within the state. He combined Anthony van Dyck's prototypes and opulent style with Philippe de Champaigne's stiff, linear formality. In his unofficial portraits, however, Rigaud's interest in realism and character displays the influence of Rembrandt van Rijn. Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.

Rigaud studied in Montpellier and Lyon before arriving in Paris in 1681. He won the Prix de Rome in 1682 but on Charles Le Brun's advice did not go to Italy. In 1688 Rigaud's flattering, graceful portrait of King Louis XIV's brother brought him favour at court. His subjects included dignitaries at Versailles, visiting royalty, prominent artists, and church and military leaders. His studio employed both part-time specialists and full-time assistants like Jean-Marc Nattier. They often copied his portraits, which Rigaud touched up as necessary. Elected to the Académie Royale as a history painter in 1700, Rigaud later taught there.
In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Rigaud died in Paris in 1743 at the age of 84.

SIZE: canvas 45 x 35.5 inches.
Framed 53 x 43.75 inches.
*The Bryan Hall Collection, Banningham Old Rectory, Norfolk (see image 6).(Mr. Hall's collection, built up over 60 years, was acquired mainly from country house sales of the great Norfolk families during the post war years). His collection was dispersed in 2004.
* Private Collection.

Portrait of Mary, wife of George Perrott, ...

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Oil on unlined canvas in carved period frame.

It is most unusual for a painting of this age to remain unlined; as a result the canvas has lost a small amount of tension, but, interestingly, as it has not been covered by a lining, the sitter's name can be seen painted on the verso.

An inscription to the sitter's right reads: "MARY wife of GEO. PERROTT Esqr / Baron of the Exchequer / and dau. of Wm. BOWER Esqr / of Bridlington, Yorkshire. / ob:1784."

GEORGE PERROTT (1710-1780), Baron of the Exchequer, born in 1710, belonged to the Yorkshire branch of the Perrotts of Pembrokeshire. He was the second son of Thomas Perrott, Prebendary of Ripon and Rector of Welbury in the North Riding of Yorkshire, and of St. Martin-in-Micklegate in the city of York by his wife Anastasia, daughter of the Rev. George Plaxton, Rector of Barwick- in-Elmet in the West Riding of Yorkshire.
After receiving his education at Westminster School, he was admitted a student of the Inner Temple in November 1728, and was called to the bar in 1732.

He married, in 1742, MARY, only daughter of JOHN BOWER of Bridlington Quay, Yorkshire and widow of Peter Whitton, Lord Mayor of York in 1728. Mary was born in 1702 in Bridlington Quay.

In May 1757 Perrott was elected a bencher of his inn, and in 1759 was made a King's Counsel.
On 24 Jan. 1763 he was called to the degree of Serjeant, and appointed a baron of the exchequer in the place of Sir Henry Gould the younger.
He was seized with a fit of palsy at Maidstone during the Lent assizes in 1775, and shortly afterwards retired from the bench with a pension of £1,200 a year.
Having purchased the manor of Fladbury and other considerable estates in Worcestershire he retired to Perrott House, Pershore, where he died on 28 Jan. 1780, in the seventieth year of his age. A monument was erected to his memory in the parish church at Laleham, Middlesex, in pursuance of directions contained in his widow's will.
His widow Mary died on 7 March 1784, aged 82.

IMAGES 7 and 8 show Perrott House in Pershore, Worcs.

Biographical information from:-
*Stephen L and S Lee, eds. 1917. The Dictionary of National Biography from the Earliest Times to 1900. Volume XV Owens-Pockrich. Oxford University Press, Oxford. P 905.
* the website 'Perrotts of Yorkshire'.

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: 38 x 32 inches inc. frame.
PROVENANCE:Private Collection.

SOLD....Portrait of a Member of the Stafford ...

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A good quality oil on panel with the coat of arms of the Stafford family upper left, and the inscription " T S Aet Suae 25 Ano 1613" (T S at his age of 25 in the year 1613). Now in a 19th century frame.

Verso an old painted inscription "William Stafford Obit 1625" (Died 1625), however, the initials beneath the armorial are T S, not W S. A possibility may be Thomas Stafford of Devon, gent., who graduated B.A. from Exeter College, Oxford on 12 November 1613.

Regardless of the precise identity of the sitter, this is a fine example of Jacobean portraiture. The sitter is sensitively depicted, with his face revealing an alert intelligence. The costly silk clothing, fine ruff and exquisitely worked belt buckle are all well painted and make the point of the sitter's wealth.

SIZE: 29.5 x 23.5 inches inc. frame.
PROVENANCE: English Private Collection.



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Oil on canvas in a giltwood frame.
Based very closely on the 17th century portrait by Pierre Mignard (the only major difference being the left arm), this is an 18th century small scale portrait of one of the most famous lovers of Louis XIV.
The talented unknown artist has painted this portrait with a miniaturist's skill; the detail is superb.
LOUISE DE LA VALLIERE (Françoise Louise de La Baume Le Blanc; 6 August 1644 – 7 June 1710) was a mistress of Louis XIV of France from 1661 to 1667. She later became the Duchess of La Vallière and Duchess of Vaujours in her own right.
Louise was born in Tours, the daughter of an officer, Laurent de La Baume Le Blanc (who took the name of La Vallière from a small estate near Amboise) and Françoise Le Provost. Laurent de La Vallière died in 1651; his widow remarried in 1655, to Jacques de Courtarvel, Marquis de Saint-Rémy, and joined the court of Gaston, Duke of Orléans, at Blois.
Louise was brought up with the younger princesses (the future Grand Duchess of Tuscany, Duchess of Alençon, and Duchess of Savoy), the half-sisters of La Grande Mademoiselle. After the death of Gaston, Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them.
Louise had been at Fontainebleau only two months when she and Louis XIV fell in love, becoming the king's mistress. It was Louise's first serious attachment and she was reportedly an innocent, religious-minded girl who initially brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation; she wanted only the King's love. She bore the king five children.
By 1667 Louis had tired of her and taken other mistresses; after much pleading to the monarch she was finally permitted to enter the Carmelite convent in the Faubourg Saint-Jacques in Paris under the name of Sister Louise of Mercy. She died, a nun, in 1710.
PIERRE MIGNARD (1612-1695) was a member of a family of artists, he was a painter in the classical French Baroque manner, known primarily for his court portraits.
In 1635 Mignard left the studio of Simon Vouet for Italy, where he spent 22 years and made a reputation that brought him a summons to Paris in 1657. Successful with his portrait of Louis XIV and in favour with the court, Mignard pitted himself against Charles Le Brun; he declined to enter the French Royal Academy, of which Le Brun was the head, and he organized the opposition to its authority.
Mignard was chiefly active in portraiture; many of the beauties and celebrities of his day sat for him, including Molière, the Viscount de Turenne, Jacques Bossuet, the Marquise de Maintenon, the Marquise de Sévigné, the Duchesse de La Valliere and the Marquise de Montespan. His skilful technique and graceful arrangements are noteworthy.

SIZE: 21 x 15.25 inches inc. frame.
PROVENANCE: Nottinghamshire private collection.

SOLD...Charles l; after Van Dyck

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Oil on canvas, a good 19th c. copy of the famous triple portrait by Van Dyck.

The original, painted in 1635, was sent to Rome in order that the noted sculptor Bernini had an accurate image from which to sculpt a marble bust of the monarch.
The painting now belongs to Her Majesty Queen Elizabeth ll. The bust was destroyed in the fire which severely damaged Whitehall Palace in 1698.

Size: 40 x 50.5 inches inc 19th c oak frame.

Provenance: a Somerset Private Collection.



SOLD....Portrait of a Gentleman of the Popham ...

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Oil on canvas in period carved and part giltwood frame.

The sitter, radiating an air of well fed confidence, wears a large and very expensive wig. The expression 'bigwig' for a rich or important person comes from this fashion.

The first Littlecote House in Wiltshire was built during the 13th century. A medieval mansion, it was inhabited by the de Calstone family from around 1290. When William Darrell married Elizabeth de Calstone in 1415, he inherited the house. His family went on to build the Tudor mansion in the mid-16th century. Henry VIII courted Jane Seymour at the house; her grandmother was Elizabeth Darrell.
Sir John Popham bought the reversion of Littlecote, and succeeded to it in 1589; he built the present Elizabethan brick mansion, which was completed in 1592.
Elizabeth I, James I, Charles II, and William of Orange stayed there, William on his march from Torbay to London in the Glorious Revolution. Popham's descendants, the Pophams and (from 1762) the Leyborne Pophams owned the house until the 1920s. The Leyborne Pophams refurbished much of the house in 1810. They retained it until 1929, when the house was purchased by Sir Ernest Wills, 3rd Baronet.
In 1985 the house was sold to Peter de Savary and the house contents, including this portrait of a Popham gentleman, were sold by Sotheby's at a three day sale.

EDWARD BYNG (c.1676-1753) was a portrait and drapery painter. He was born in Potterne, Wiltshire and died there in 1753. He was assistant and drapery painter to Sir Godfrey Kneller, Court painter, from c.1693 and was chief assistant at the time of Kneller's death in 1723. He was instructed in Kneller's will to complete unfinished portraits.

SIZE: 38 x 33 inches inc. frame.

*By descent in the Popham family.
*Sotheby's sale, The Contents of Littlecote House, Wiltshire, 20-23 November 1985.
*Private Collection.