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Our website was last updated on: 22 June 2017
 
SOLD ITEMS
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SOLD...Portrait of Queen Henrietta Maria; Follower of Van Dyck
Oil on canvas in 18th c. giltwood frame.

A beautiful portrait of Henrietta Maria, wife of King Charles I, by a Follower of Van Dyck, late 17th c./18th c.
The portrait is not an exact copy of any known Van Dyck portrait of the queen, but is clearly based on Van Dyck's work.

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.
The story of her marriage with her attached servant Lord Jermyn needs more confirmation than it has yet received to be accepted, but all the information which has reached us of her relations with her children points to the estrangement which had grown up between them.
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.

SIZE: Canvas 28 x 23 inches (old extension top and right)
Framed 33.5 x 25.25 inches

PROVENANCE:
Printed label verso 'DASHWOOD HEIRLOOM No. 74'. Old handwritten label 'Lord Lansdens(?) 7'.

Presumably by descent to John Vernon of Wherstead Park (1776-1818) from his uncle General Charles Vernon (1719-1810) "all my family pictures together with all those of Royal Personages to be kept and preserved by him as heirlooms".
By inheritance at Wherstead Park, to his sister
Lady Harland (née Arethusa Vernon) (1777-1860), wife of Sir Richard Harland, Bt. (d. 1848), Wherstead Park,
to her first cousin Charles Vernon, formerly Charles Jenkin (1790-1863), Wherstead Park, and by inheritance to
Charles Edmund Dashwood (1857-1935), Wherstead Park, Ipswich ('The Dashwood Heirlooms'); Christie's, London, 26 June 1914.
Christie's London 20 October 1967 £84
Christie's London 29 January 1988 £1050







Ref: 8536
This item has been sold




SOLD...Portrait of Sir John Potts, Baronet; Antwerp School
Oil on canvas in mid 17th c. style frame (19th c.)

The Antwerp School, numbering among its members Rubens, Van Dyck and Lievens, was renowned for its quality at a time when Flemish art was pre-eminent in Europe and extremely influential in England.
This painting, of remarkable sensitivity and insight, is by an artist as yet unidentified but unquestionably of great talent. The Potts family of Norfolk lived in Mannington Hall, a mid 15th c. moated manor house now owned by Lord and Lady Walpole.

SIZE: 43 x 37 inc. frame
PROVENANCE: The Bryan Hall Collection, Benningham Old Rectory, Norfolk.(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.A photograph shows this painting hanging on the stairwell of the Old Rectory).
VERSO: Old hand written label 'Sir John Potts 2nd Baronet, age 25 c.1645(?). No. 30'. Old Christies stencil '59 5 LX' and a chalk inscription 'June 17 '59'..presumably the date acquired by Mr. Hall. Late 19th c. label of W. Boswell of London Street, Norwich 'Old Pictures Lined, Cleaned and Restored'
Ref: 8335
This item has been sold




SOLD...Portrait of Sophia-Dorothea, Princess of Celle: Continental School c.1700
Portrait of Sophia-Dorothea of Celle (Zeel) 1666-1726.
Oil on canvas, inscribed 'S. de Zeel' and bearing the pre-1707 English Royal coat of arms.

Sophia-Dorothea was the only child of George William of Brunswick-Celle and Eleanore d'Olbreuze. In 1682 she was married, aged sixteen, for political and dynastic reasons, to her cousin George of Hanover, who later became King of England. She bore him two children, one of whom became George ll of England. This marriage was a very unhappy one; Sophia was hated by her mother-in-law the Electress of Hanover and these feeling were soon shared by George himself.
George was a coarse and boorish man with no interest in the arts and literature which appealed to his wife. It was under these circumstances that Sophia met the dashing cavalry officer Count Philip Christophe von Konigsmark of Sweden; he assisted her in two futile attempts to escape from Hanover and, rightly or wrongly, was regarded as her lover.
Through the political machinations and intrigues of the Countess von Platen, her father-in-law's long term mistress and Konigsmark's spurned lover, Sophia and Konigsmark were betrayed. On 1 July 1694 Konigsmark disappeared and was never seen again; it was rumoured throughout Europe that George had ordered his wife's lover to be hacked to death, and many years later a mutilated skeleton was discovered buried beneath George's palace of Herrenhausen.

What really shocked the nobility of Europe was George's treatment of Sophia; she was divorced, forbidden to see her children again and then imprisoned in the Castle of Ahlden for the rest of her life.
She was twenty-eight and was to remain locked away for another thirty-two years until her death. As Sophia died of fever she raved at the cruelty and wickedness of her husband; George was so incensed he refused to allow her name to be inscribed on her coffin.

Sophia-Dorothea's tragic life has been made into an Oscar winning film 'Saraband for Dead Lovers' (1948) starring Stewart Granger as Konigsmark and Joan Littlewood as Sophia; also at least three novels, including the best seller 'The Princess of Celle' by Jean Plaidy.

SIZE: 37 x 28 inc. frame
Ref: 8330
This item has been sold





SOLD...Portrait of Thomas Cookson c.1735, by Jonathan Richardson
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.)
Ref: 8498
This item has been sold





SOLD...Portrait of William Feilding Esq c.1695; Circle of Dahl
Oil on canvas, with later inscription:- 'William Feilding, Clerk to the Greencloth of King George I. Mort 1724.'

The painting is within an extremely finely carved 17th c. frame, in all probability the original.

WILLIAM FEILDING, who died in 1724, was the brother of the Earl of Denbigh. His position as Clerk of the Greencloth was an important one; this office was created by Queen Elizabeth I, and the duties involved the running of the Royal Household and its accounts and organising Royal journeys….in itself a complex task as the monarch always travelled with a large retinue.

SIZE: 36.5 x 32 inches inc. frame
PROVENANCE: a Cheshire private collection.


Ref: 8403
This item has been sold




SOLD...Portrait said to be of Mrs. McFarlane, daughter of the first Baronet Halkett of Pitfirrane c.1715; by William Aikman
Oil on canvas in feigned oval within old 18th c. style gilt frame.

The sitter may possibly be Mary Halkett, daughter of Sir Charles Halkett, the first baronet, knighted by King Charles ll. Sir Charles married Janet Murray, daughter of Sir Patrick Murray of Dryden; she bore him seven children.
The Halketts are a family of ancient lineage, in Scotland by the 13th century and settled at Pitfirrane in the 14th. The family seat was a small castle or tower house sold in 1951 when Lady Madeleine Halkett died; it is now a golf club.

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 died in London but by his wish was buried in Grey Friars Church, Edinburgh.

This portrait, with its painterly delight in manipulating the medium, shows a more bravura approach than his later style in London when he adopted a 'smoother' manner consciously emulating Sir Godfrey Kneller, Principal Painter to the King.

Size:38 x 33 inc. frame.
Provenance: by descent, Scottish private collection. Verso: fragment of 19th c. Edinburgh framer's label.

Ref: 8357
This item has been sold




Tang Dynasty Attendant Figure, 7th - 10th century
An ancient Chinese attendant figure from a Tang Dynasty tomb, 1300 to 1000 years old.
Originally the figure, still bearing some of its original paint, would have held a wooden stick to symbolise the light that would be used to guide the deceased through the Afterlife.
The Tang Dynasty was an Imperial dynasty of China, with its capital at Chang'an (present-day Xi'an), the most populous city at the time in the world, it is generally regarded as a high point in Chinese civilization—equal to, or surpassing that of, the earlier Han Dynasty—a golden age of cosmopolitan culture. Its territory, acquired through the military campaigns of its early rulers, was greater than that of the Han period.

SIZE: 11 inches tall
PROVENANCE: English private collection for the last 16 years.
This item has been sold





Triple Portrait of The Hon. Mrs. Denham - Cookes and Her Children 1896, by Edward Hughes.
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.
Ref: 8685
This item has been sold



 
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