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Our website was last updated on: 22 June 2017
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Portrait of a Gentleman in a Red Coat, 1717, by John Verelst.
Oil on canvas in 18th century Neo-Classical frame.
Signed and dated "Jon. Verelst/ P. 1717".

The young man looks directly at the viewer with an air of consideration, his wig fashionably tied in a club.
This is an excellent quality portrait with a real sense of the character of the sitter.

This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.
Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."

JOHN VERELST, also Jan or Johannes (1648-1734), was a Dutch Golden Age painter, working in England.
He was the son of Pieter Hermansz Verelst and brother to Herman and Simon, all artists, along with other family members, Herman, Maria, Cornelis and William.

SIZE: 37 x 31.5 inches inc. frame.
PROVENANCE: Princess Viola von Hohenzollern of Killochan Castle, Scotland.
Image 4 shows the castle and image 5 the Great Hall; the Verelst portrait can be seen on the extreme left.
Ref: 8697
This item has been sold

Portrait of a Gentleman in Red c.1720; Attributed to Jonathan Richardson.
Oil on canvas in an 18th century giltwood frame.

Painted within a fashionable feigned oval, the sitter wears an expensive red velvet coat and matching waistcoat.
Sir Godfrey Kneller's influence is clearly seen, but Richardson's depiction of the sitter has a more direct humanity and sensitivity; one feels that the sitter was a man of insight and humour.

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.
He was the leading native-born portrait painter of the first forty years of the century. He and Jervas were in rivalry with Kneller and Dahl. Jervas excelled with women's portraits, Richardson was best with men's. His works were sound, solid, good likenesses, and unpretentious.

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.
Both Thomas Hudson and George Knapton worked in his atelier and studied his work.

SIZE: 36.5 x 32 inches inc. frame.
PROVENANCE: In an Oxfordshire Private Collection for three generations.

Ref: 8999
This item has been sold

Portrait of a Gentleman late 1920s/early 1930s, English School
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.
Ref: nrfk7
This item has been sold

Portrait of a Girl c.1735: Circle of Joseph Highmore.
Oil on canvas in a Georgian gilt frame (lower edge of the frame has numerous small damages).

An enchanting portrait of a young girl in a pink dress with a blue wrap; she smiles rather shyly at the viewer.
Portraits of this small size were often displayed in the more intimate rooms of a household and one can imagine this in the girl's mother's boudoir or her private sitting room.

JOSEPH HIGHMORE (1692-1780) was an English portrait and historical painter, illustrator and author.
He was one of the most talented and versatile English portraitists of the eighteenth century. He first trained, for five years, as a lawyer but abandoned the practice and entered Sir Godfrey Kneller's Academy in London in 1713. When he began work as a professional artist in 1715 he found his natural ability to draw a sharp likeness soon won him a large clientele in the City, while his legal education and manner helped gain access to the nobility and gentry. Such was his success that the poet John Bunce wrote the following verse soon after the death of Kneller in 1723;

“No more let Britain for her Kneller grieve
In Highmore see a rising Kneller live
Whose happy pencil claims as high a name
If equal merit challenge equal fame.”

Although Highmore’s style first followed that of Kneller (as did whole generations of early eighteenth century artists), he also assumed the more forceful and realistic characterisation of Hogarth. As a result, Highmore’s portraits soon lost much of the Augustan stiffness of Kneller, instead showing a more subtle and fluid construction. This portrait of the mid 1730s demonstrates a further evolution of Highmore’s style following his trip to France in 1734. Like many of his contemporaries, such as Hayman and later Gainsborough, Highmore was heavily influenced by the French rococo manner first popularized by the influential French painter and engraver Hubert Gravelot, who arrived in London in 1732.

SIZE:19 x 17.5 inches inc. frame.
PROVENANCE:English Private Collection.
Ref: 8758
This item has been sold

Portrait of a Girl with her Pet Dog c.1780; Follower of Thomas Hickey
Oil on canvas in giltwood frame.

An attractive portrait of a girl with a dog on her lap; the dog may have been her pet but equally may be present as a symbol of trustworthiness and fidelity.

THOMAS HICKEY (1741 - 1824) was born in Dublin, he studied under Benjamin West at Dublin Society Schools 1753-6, winning prizes. He travelled to Italy c.1760-6, returning to Dublin in 1767 where he exhibited 1768-70. He moved to London and entered the Royal Academy Schools in 1771, exhibiting at the RA 16 times between 1772 and 1792. In 1778 Hickey was working in Bath then embarked for India in 1780, but the ship was captured by the French en route and he was released at Cadiz. He proceeded by land to Lisbon, where he worked successfully 1782-4 before continuing on to India, arriving in Bengal in 1784. He took a large, handsome house in the most fashionable part of Calcutta and established a thriving business. Hickey returned to England in June 1791; he was portrait painter to Lord Macartney's expedition to China 1792-4. Probably in Dublin in 1796, returning to India in 1798, where he had a successful portrait practice until his death; he was buried in Madras 20 May 1824.

SIZE: 27.5 x 23.5 inches inc. frame.
PROVENANCE: Scottish private collection for many years.
Ref: 8541
This item has been sold

Portrait of a half clad Lady; 1950s Continental School.
Oil on hardboard in gilt frame.

The young woman looks out from the canvas, apparently lost in thought, her flimsy blouse undone.
The unknown artist has painted this with panache and a painterly delight in using the medium.
The portrait is signed but the signature cannot be made out; it has an eastern European look...possibly Hungarian.
SIZE: 30 x 22.5 inches inc. frame.
PROVENANCE:Sussex Private Collection.
Ref: 8823
This item has been sold

Portrait of a Lady as the Goddess Diana c.1640; Circle or Studio of Jan Mytens.
Oil on canvas in black and gilt frame, modern but of correct type.

The young sitter is depicted in a landscape, dawn breaking to her left.
This beautifully executed portrait captures the shimmering quality of the sitter's garments...the silk, fine linen and delicate gauze all complement the delicacy with which the girl's face is painted.
The artist has expertly captured a sense of movement as the lady seems to move across the canvas, turning her head to regard the viewer.
The sitter holds a bow, her hound by her side.

The fashionably, and expensively, dressed young lady is depicted as Diana the Huntress, goddess of the hunt, moon and birthing.
The celestial character of Diana is reflected in her connection with light, inaccessibility, purity and virginity; all desirable attributes for a girl who was on the marriage market.

JAN MYTENS (Mijtens) (1614-1670) was a Dutch Golden Age artist, he worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.

Dutch family of painters of Flemish origin. The earliest known artist of this family was Aert Mijtens (1541-1602), a history and portrait painter who worked in Naples and Rome. His brother Martin Mijtens, a saddle and coach-maker, fled to the northern Netherlands and had two sons who also became painters: Daniel Mijtens I, who was prominent in England for a period as a portrait painter in the Stuart court, and Isaac Mijtens (c. 1602-1666), a portrait painter in The Hague.
Jan Mijtens was a nephew of these brothers and father of the portrait painter Daniel Mijtens II (1644-1688). Martin Mijtens I, himself a son of Isaac, moved to Sweden where he worked as a portrait painter in Stockholm, while his son Martin van Meytens II later became a portrait painter at the imperial court in Vienna. Several other minor members of the Mijtens family established reputations as painters.

SIZE:43.5 x 34.5 inches canvas size.
*Collection of Dr. Kurt Tchiassney, Vienna.
*Willed to a friend for his collection.
*By descent.
*Christie's, New York 2011.
*Private Collection, Yorkshire, England.
Ref: 8765
This item has been sold

Portrait of a Lady c. 1590-1610; Attributed to Gortzius Geldorp.
Oil on oak panel, composed of three sections, now in a late 18th century gilt frame.

This is a fine, sensitive portrait of a wealthy young woman, very expensively and fashionably dressed. The linen of her ruff is of such fine quality, and is so beautifully painted, that it almost seems lit from within.
The identity of the sitter has been lost, but it is almost certainly a marriage portrait; the portrait of her husband is also on this website.

Clothes and accessories were of enormous importance at this period. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.
The artist invests the portrait with a calm dignity, the beautifully painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining its costliness.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.
Beautifully moulded by light and colour, this portrait has the lively human presence of a young woman that reaches across four centuries.

GORTZIUS GELDORP (1553–1618) was a Flemish Renaissance artist distinguished himself through his portrait paintings.
After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders; they are traditional in style but painted in a smoother manner than portraits by the old Cologne masters.
He had a brilliant and powerful palette in which the browns dominate. His later works are characterised by soft transitions and a blueish tone in the wrists and neck of his subjects.
He died in Cologne, aged about 65. The painter Georg Geldorp who was mainly active in England was his son. The painter Melchior Geldorp who worked in Cologne was probably his son or nephew.

SIZE: 24.5 x 22 inches including frame.
PROVENANCE: Deceased Irish country estate.
Ref: 8984
This item has been sold

Portrait of a Lady c.1635; Attributed to George Jamesone.
Oil on canvas in a 19th century gilt frame.

The attractive sitter's hands are elegantly posed in front of her heart as she looks directly at the viewer.
She wears a low cut bodice which was extremely fashionable but the wearer could choose, as has this lady, to preserve her modesty by wearing a diaphanous piece of fabric over the decolletage. Partly covered by this material is the fine quality expensive 'reticella' lace. Also known as 'cutwork' this is the period when it was at its most sophisticated and technically skilled.

Her modesty is further emphasised by the fact that she covers her hair (as does Jamesone's wife in his portrait showing himself, wife and child).

GEORGE JAMESONE (or Jameson) (c. 1587 – 1644) was Scotland's first eminent portrait-painter.
He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College.
Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck. This is, however, yet to be proven as his name does not appear to be noted on the Guild registers of the town. Since Rubens was exempt from registering pupils, the absence of Jamesone's name does not mean that the painter definitely did not study there.
Certainly Jamesone's style is influenced by Rubens, and usually painted thinly, with great style.

Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century. Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620.

Whilst in Aberdeen, Jamesone made a name for himself painting portraits of local academics and scholars from the city's two feuding colleges: King's and Marischal. In 1633, when Charles I made his grand royal visit to Edinburgh, Jamesone rose from local to national fame. For this occasion the painter was asked to decorate a highly elaborate triumphal arch with the portraits of all the past kings of Scotland. He was also given the honour of painting the portrait of Charles himself. It has been said that the king was so pleased with the result that he gave Jamesone a ring off his own finger as a reward.

After hearing of the King's approval, many of the Scottish gentry desired to be painted by the now highly reputable George Jamesone. One of his finest examples is that of Mary Erskine which is on display at the National Gallery of Scotland. Jamesone had homes and studios in Aberdeen (on Schoolhill opposite St. Nicholas Kirk) and in Edinburgh (on the Royal Mile right next door to John Knox House). Having two bases allowed him to meet the demands of hundreds of patrons from the north to the south of the country.

Jamesone's pupil, John Michael Wright, also went on to be a highly important portrait painter in seventeenth century British art.

SIZE: 27.5 x 23.75 inches inc. frame.
20 x 16.5 inches canvas size.
*Collection of Sackville George Pelham, 5th Earl of Yarborough, MC (17 December 1888 – 7 February 1948).
*Collection of a Lady, Northumberland.
VERSO:painted on the canvas "By George Jamesone 1586-1644"
Paper label "The Property of Sackville, 5th Earl of Yarborough".
Two pencil inscriptions on the frame: "The Loyal Lady" and "Portrait of a Lady (Royalist)"
Ref: 8724
This item has been sold

Portrait of a Lady c.1645; by Jacob van Loo.
Oil on panel in an elaborate 19th century gilt frame.

A superb quality portrait of a young woman, sensitively rendered. The subtle, but rich, colours have a jewel like quality which is enhanced by the heavy frame acting as a gold mount.

JACOB VAN LOO (1614 – 1670) was a painter of the Dutch Golden Age. Van Loo is known for his portraits, conversational groupings, his use of a subtle colour palette and his nudes. He was the founder of the Van Loo family of painters.
Van Loo was born in the Flemish town Sluis, which had been occupied by the Dutch Republic since 1604. Jan van Loo, his father, is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loo's early history due to the destruction of the city archives in Sluis during World War II.
His early influences included Thomas de Keyser and Jacob Adriaensz Backer. In 1642, van Loo moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married Anna Lengele, the sister of the painter Martinus Lengele (1604–1668). The couple had six children. They lived on Rozengracht in the Jordaan district of Amsterdam. Eglon van der Neer became one of his pupils.
In 1660, Van Loo fled the city after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to the Dutch Republic. He settled in Paris, where he was admitted to the Académie de Peinture et de Sculpture. He died in Paris in 1670.
Van Loo's work was done in the Baroque style that had originated in Rome and popular throughout Europe. He was a major influence on Johannes Vermeer.
Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarseveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife Lucretia Boudaen.
Jacob van Loo's son, Louis Abraham van Loo, was also a painter, as were his grandsons, Jean-Baptiste van Loo and Charles-André van Loo.

SIZE: 26 x 21.75 inches inc. frame.
Panel size: 17 x 12.5 inches including old addition of an inch to the left edge.
PROVENANCE: English Private Collection.
Ref: 8760
This item has been sold

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