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Our website was last updated on: 22 June 2017
 
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Pair of Portraits of Two Girls of the Howard Family c.1650: Attributed to Remigius van Leemput.
Both small oil on canvas in carved and giltwood frames, bearing the name plate 'Sir Peter Lely'

The two sitters are most likely members of the Howard of Effingham family.

The Howard family is an English aristocratic family founded by John Howard who was created Duke of Norfolk (3rd creation) by Plantagenet monarch Richard III of England in 1483. However, John was also the eldest (although maternal) grandson of the 1st Duke of 1st creation. The Howards have been part of the peerage since the 15th century and remain the Premier Dukes of the Realm in the Peerage of England, acting as Earl Marshal of England.

William Howard, 1st Baron Howard of Effingham (c. 1510 12 January 1573), was the founder of the Effingham branch of the family, he was the eldest son of Thomas Howard, 2nd Duke of Norfolk by his second wife, Agnes Tilney. Howard served four monarchs, Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, in various official capacities, most notably on diplomatic missions and as Lord Admiral and Lord Chamberlain of the Household.

REMIGIUS VAN LEEMPUT (1609?-1675) was a highly accomplished painter working in seventeenth century England, and a celebrated small scale copyist of the works of Sir Anthony Van Dyck (1599-1641) and Sir Peter Lely (1618-80).
Leemput was baptised in Antwerp in 1607 and by 1635 was living in Covent Garden, London, which is when, perhaps, he began working in the studio of Van Dyck, who arrived in England three years earlier. Very little is known about the pupils who trained and worked with Van Dyck, although it is generally acknowledged that Leemput was employed to assist with the preliminary development of his works and also as a copyist. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.

SIZE: 16 x 13 inches inc. frame.
PROVENANCE: Private Collection, a Northamptonshire Country House.
Verso: an old, handwritten label , badly torn " No.1 .....Howard..Daught(er?) ..Lord Effingham Howard. Sir P.Lely'. Both paintings bear the chalk inscription 'Hemsley'.
Ref: 8931
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Pair of portraits of William and Sarah Yorke c.1680; Circle of John Riley.
A pair of oils on oak panels of small size, late 17th century, probably painted to mark the marriage of the Yorkes. These charming portraits are unpretentious and have a good sense of the character of the sitters.
There are several Yorke families in the country, including that of the Earls of Hardwicke; as yet it is not knwn which Yorke family is represented here.

JOHN RILEY, or Ryley, (1646 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. One of his pupils was Jonathan Richardson.
Riley was born in London, one of the sons of William Riley or Ryley, Lancaster herald and keeper of the records in the Tower of London; another son, Thomas, was an actor.

Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy. Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king.

Charles II gave Riley some commissions, and eventually himself sat for him. Riley also painted James II and his queen, and, on the accession of William and Mary, he was appointed court painter.

Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller.
Among Riley's pupils was Jonathan Richardson (16651745), who married a niece of Riley.

SIZE: 15 x 13 inches inc frame
PROVENANCE: Berkshire Private Collection.
Verso: old handwritten inscription on the female portrait: "Sarah Yorke, Wife of Wm. Yorke".
Ref: 8570
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Pewter charger c.1690.
A William and Mary single reed rim pewter charger c.1690, with a group of indistinct 'hallmarks'.
The charger is possibly by I. Greenbanck, working from 1680-1720.
16.5 inches in diameter.
Ref: 8802
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Porrait of Anne Bloxham c.1830; Circle of Sir Thomas Lawrence.
Oil on canvas in the original frame.

A high quality portrait of Anne Bloxham, stylishly clad in black velvet with off the shoulder sleeves. She wears highly expensive jewellery but, rather fetchingly, a rose in her hair.
Verso, an old label states that the family believed this portrait to have been executed by Lawrence just before his death in 1830.

SIR THOMAS LAWRENCE P.R.A. (1769-1830) was a child prodigy and the most remarkable British portrait painter of his day.
He was born in Bristol and began drawing in Devizes, where his father was an innkeeper. At the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1790. He stayed at the top of his profession until his death, aged 60, in 1830.

Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820. In 1810 he acquired the patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency. Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons became the subject of several books) and, in spite of his success, he spent most of life deep in debt. He never married. At his death, Lawrence was the most fashionable portrait painter in Europe.

SIZE: 36.25 x 31.5 inches including frame.
PROVENANCE: Suffolk Private Collection.
Ref: 8989
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Portrait a Young Lady in Red c.1700; Circle of Sir Godfrey Kneller.
Oil on canvas in a period carved and giltwood frame.

The sitter looks to be about sixteen years old, which means she would be on the marriage market at that time.
She holds a bunch of flowers in her lap, which signify two things. Firstly, they are a symbol of fecundity and future fruitfulness at a time when the main purpose of an aristocratic woman was to produce a son and heir.
Secondly, they are a reminder of the transience of youth and of life itself, especially when this period was one with a high mortality rate.
She sits on a terrace overlooking a garden, behind her and beneath her left arm is a costly silk fabric trimmed with gold lace.

SIR GODFREY KNELLER (1646-1723) studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painterto the King, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715.
His work fully expresses the spirit of the English Baroque and had a profound impact on English portraiture with many artists copying his style.


SIZE: 56 x 46.5 inches inc. frame.
PROVENANCE:Yorkshire Private Collection.
Ref: 8908
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Portrait Bust of Sappho c.1900 by Reps & Trinte
A superb terracotta Art Nouveau portrait bust of Sappho, the famous Ancient Greek poetess.

Sappho was greatly loved for her personification of love and affection, and her creativity. Her poetry was so rhythmical, usually accompanied by music and dance, that it gained the reputation for being the Divine Inspiration of the Muses.
She was born on the Aegean island of Lesbos about 615 BC. To the Greeks Homer was the Poet and Sappho was the Poetess. Plato called her The Tenth Muse.
Those who know the language of ancient Greece have long ago convinced us that much of the beauty of Greek lyric verse is lost in English translation.
The Greeks' appreciation of the poetry of Sappho gave her the recognition as one of the greatest of women poets and the greatest of all lyric poets.

She was married and the mother of a child but her poetry reveals her sexual attraction to women. Our English word for sexual love between women is derived from Lesbos the name of the island where Sappho lived. Her imagery and the intensity of her poetry transcends sexual reference; it is poetry lifted to an ethereal plain. It is said that Sappho's use of every word has a perfection and inimitable grace.

This bust, 24 inches tall, beautifully sculpted and painted, was made by Reps & Trinte of Magdeburg, Saxony in c. 1900. It bears their pre 1910 mark; 'R & T Mgdbg Gesetzl Geschibz'.
The company was founded by Carl Reps in 1889 and made artworks in terracotta, marble and bronze. They exhibited at the St. Louis World's Fair in 1904.

PROVENANCE: English Private Collection since 1973
Ref: lyric
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Portrait of a Lady c.1740; by Jean-Baptiste Van Loo
Oil on canvas in good quality period giltwood frame.

A fine portrait of an aristocratic lady showing the qualities that made the artist such a success...an ability to suggest wit, a sense of humour and an inner mental life in his sitters; and, in the drapery, a freedom of expression and a painterly delight in the use of the medium.

The effect of Van Loo's arrival in London on British portraiture was dynamic - the Continental refinement and polish that was characteristic of his work made much of the then fashionable painting seem stilted and old-fashioned. His style was particularly successful with portraits of women.... he had a smarter style than Richardson's, he influenced Hudson, and his manners and manner suited the upper classes better than Hogarth's.

JEAN-BAPTISTE VAN LOO (1684-1745), born in Aix-en-Provence.
He worked in the south of France, Turin and Rome, settling in Paris in 1720 becoming a Member of the Academy.
Coming to England in 1737 he had immense success in London as a fashionable portrait painter; by 1739 he was the favourite painter of the Prime Minister Sir Robert Walpole and had painted the Princess of Wales and her family. Due to ill-health he returned to France in 1742, dying there three years later.

SIZE: 37 x 32 inches inc. frame (damages to frame)
PROVENANCE: With Philip Mould Historical Portraits Ltd, Mayfair, London.
Private Collection, England.

Verso: old collection stamps
Ref: 8485
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Portrait of "Miss Sharpe", 1920s; by Thomas William Holgate R.B.A.
Oil on canvas in the original ebonised frame.
This fine painting captures the spirit of the 1920s and of the attractive sitter....the portrait has a sensual feel and a subtle erotic charge.
The young woman regards the viewer with a challenging and provocative look; her left hand rests, almost like a caress, on the chair back. Her right hand holds the furred edge of her coat, as if opening it.

The portrait is in superb, untouched condition, having spent its life protected by glass. It has never been lined or cleaned.
The signature of the artist, 'T.W. Holgate', is bottom right.
The identity of the sitter is not known, but verso, an old depository label records the name of the then owner as 'Sharpe'. The painting was acquired in London some 50 years ago and has been with that family until the present day; they have always referred to the sitter as 'Miss Sharpe'.

THOMAS WILLIAM HOLGATE R.B.A.(18701953) was born in Lancashire and as well as a fine painter was a talented singer and a Professor of Music. He studied and exhibited at the Royal Academy around 1899.
He was highly respected as a sensitive figure and portrait painter especially of young women; in addition he produced some fine detailed landscape and seascape paintings of views in Cornwall. Holgate lived at Constantine, moving on to Falmouth, and finally to Truro in the early 1940s.
He was made a Member of the Royal Society of British Artists in 1904 and his work was exhibited at the Royal Society of Artists, Birmingham; the Walker Art Gallery, Liverpool; the Royal Academy; the Royal Society of British Artists and the Royal Institute of Oil Painters.
There are examples of his work in several collections including Falmouth Art Gallery and the Royal Cornwall Museum, Truro.

SIZE:40 x 30.75 inches inc. frame.
PROVENANCE: Private Collection, Devon.
Ref: 8827
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Portrait of a Andrew Robertson of Foveran; Follower of Allan Ramsay.
Oil on canvas in a good quality reproduction frame.
Verso, old handwritten labels with much information about the Robertsons, including the following.

ANDREW ROBERTSON of Foveran (1730-1817) married Jean Davidson (her portrait is also on this website). His brother William was in the bodyguard of Bonnie Prince Charlie at the Battle of Culloden. After the defeat to the Jacobite forces he fled to Sweden where he made a fortune. After some years he returned and bought an estate in Scotland.

His cousin James, 5th Earl of Southesk, had been attainted for the Jacobite Rising in 1715 and the earldom was not restored until 1855.

Andrew, the sitter in this portrait, quarrelled with his eldest son William and he left the estate of Foveran to William's brother. Alexander, William's son, as his father did not inherit the estate went to live in China where he made a fortune. Returning home he spent it all so he returned to China where he made another(moderate) fortune.

In the past this portrait has been rather heavily cleaned, so, as can be seen, the paint is a little thin in places.

ALLAN RAMSAY 17131784.
Ramsay was born in Edinburgh; he studied in London at St Martin's Lane Academy and at Hans Hysing's studio, before going to Italy to study. On his return he settled in London, although he continued to be active in Edinburgh. Between 1754 and 1757 he was in Italy, mostly in Rome. During his prime period he had a virtual monopoly on court painting. He became the official painter to George III in 1760, and Principal Painter-in-Ordinary in 1767. His assistants included David Martin, Alexander Nasmyth and Philip Reinagle.


SIZE:35.5 x 30.25 inches inc. frame.
PROVENANCE: Private Collection, Dorset.
Ref: 8909
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Portrait of a Boy and Lamb c. 1825 by F. Scarfe.
Oil on canvas, signed above the lamb's head, in modern giltwood frame.

The young boy, dressed rather foppishly 'a la mode' of the Late Georgian or Regency period, holds a book, his finger marking his place. He looks to one side as if he has just been distracted from his reading.
His right arm is round a lamb which may have been a pet or it may be purely symbolic.
Lambs were often used in portraiture to signify innocence, gentleness, patience and humility .... characteristics thought highly desirable in a child.

F. SCARFE. The portrait is signed by this artist, but little is known of him. He lived in Marylebone, London, and exhibited a portrait at The Royal Academy in 1825.

SIZE:25.5 x 21.25 inches inc. frame.
PROVENANCE: The Collection of Brian Juhos from his Domaine in Southern France.(see Image 6).

{BRIAN JUHOS is a celebrated international decorator and interior designer; a renowned tastemaker, his signature style is an integral part of many sophisticated interiors around the world.}
Ref: 8746
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