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Our website was last updated on: 22 June 2017
 
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Portrait of a Lady in Blue c. 1730, probably by Thomas Hudson.
Oil on canvas in an Edwardian copy of an early 18th c. carved and giltwood frame.

A fine portrait probably by Thomas Hudson; the silk and lace are exquisitely painted and the hands, so often a weak point with lesser artists, are beautifully delineated. This is a sensitive and honest portrait of the sitter; she has not been depersonalised into a fashionable society doll. It feels to be a true likeness.
The identity of the sitter has been lost, although a clue may lie in the scroll she holds which shows the profile of a gentleman depicted in a Classical cameo with the initials P.W. Research has, so far, failed to come up with an identity.

"I think it is possible to attribute the picture to Hudson, or possibly a very competent follower. The strong full bodied British face is certainly what we would expect from him.
I investigated the Jervas attribution, but, I am certain that it's not him. Jervas just didn't paint faces as convincingly as yours, plus, he had no talent or interest for lace or drapery - which is certainly found in yours.
-It was Hudson who was most interested in giving his sitters little props and scrolls to hold, Jervas or his other contemporaries didn't seem to do this very often at all." Adam Busiakiewicz, art historian.

THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.


SIZE: 50 x 40 inches canvas.

59.75 x 49.25 inches inc.frame.
PROVENANCE: Private Collection, Southern England.
Ref: 8819
This item has been sold





Portrait of a Lady in Blue c.1715: Circle of Johnathan Richardson.
Oil on canvas in as period carved giltwood frame.
(Note: although this frame is of the right period, it is not the original as it has been reduced in size by removing a section on each side)

The sitter looks out in a confident manner, her head slightly to one side. She is depicted within a feigned stone oval, a fashionable conceit of the time.

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.

SIZE: 35 x 30 inches inc. frame.
PROVENANCE: Private Collection, Sussex.

Ref: 8919
This item has been sold





Portrait of a Lady in White 1906 by Margaret Kemplay Snowden .
Oil on canvas in a part gilt frame.
Singed and dated 1906 lower right.
A striking Edwardian portrait of a lady of the early 1900s sitting relaxed in a wing chair.
The treatment of the material is done in a very free manner with a real painterly enjoyment in the use of the medium.

MARGARET KEMPLAY SNOWDEN was born in Leeds, Yorkshire in 1878, (died 1965), the Kemplays and the Snowdens being old, prosperous Yorkshire families. Her parents were Richard Kempley Snowdon, MA Oxon (Clergy), Head Curate of St Johns, Leeds, and Mary Louisa Milnes-Wright, born Collingham, Notts.
Called Margery by the family Margaret exhibited from 1918 to 1938.

Painted in 1906 when Margaret was 28, and 12 years before she started exhibiting, it is likely that the sitter in this portrait was a member of the Kemplay Snowden family, perhaps one of her sisters - Lilla Mary or Ethel Cooper.
In 1881 Margaret lived with her family at 10 Grove Terrace, Leeds - moving to Ledsham Vicarage by 1891 and Harrogate by 1901. Her father had died in 1896 and Margaret and her three sisters were unmarried. Mary Louisa remarried Fairfax Rhodes in 1916.

The London Gazette of 2 Jul 1965 has an entry for Margaret's death for 28 Apr 1965. She was living at Thornecliffe, Lansdown Road, Cheltenham and is described as "Spinster". There is also a BMD record of her death as Margaret K SNOWDON in 1965 in Cheltenham.

SIZE:43 x 35 inches inc. frame.
PROVENANCE: Christie's sale 1996.
Private Collection, London.
Ref: 8886
This item has been sold





Portrait of a Lady of the Chaworth-Musters Family of Annesley Hall, c. 1690-1700: Circle of Kneller.
Oil on canvas in a fine quality period carved and giltwood frame (some slight damages to frame).

The sitter is probably a member of the Chaworth-Musters family (?Elizabeth Chaworth, nee Pole of Heage, Derbyshire, wife of Patricius Chaworth c.1673-1719?) of Annesley Hall and Park, their ancestral home for 350 years.
It remained in the hands of the Chaworth-Musters family until sold by Major Robert Patricius Chaworth-Musters in 1972. Unfortunately the hall suffered a fire in 1997 which caused damage to the structure and it has not been lived in since. The hall is now in private ownership, in very poor condition and not open to the public.(Image 5)

The Chaworth family were descendents of the Chaources family, of Maine in northern France, who came to Britain at the time of the Norman Conquest. The Annesley line can trace their descent to two brothers. Patricius Chaworth married the heiress of Ogmore and Kidwelly, South Wales. His brother Robert de Chaworth settled in Nottinghamshire and married the daughter of William de Walchiville, Lord of Marnham, in the time of Henry I (1100-1135). He became the ancestor of the Chaworth family later of Annesley.

SIZE: 39 x 33 inches inc.frame.
PROVENANCE:House sale of Annesley Hall and Park, Nottinghamshire by the then owner Major Robert Patricius Chaworth-Musters (1923-1992) 21 March 1973, lot 1088, where bought by Christopher Hogwood CBE (1941-2014).

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.
Ref: 8881
This item has been sold





Portrait of a Lady of the Keck family c.1715: Circle of Michael Dahl
Oil on canvas in giltwood frame and slip.

The lady is probably a member of the wealthy and landed Keck family. (A portrait of Anne Keck, stock no. 8867, from the same collection, can be found on this site.)

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 14, owner Mrs. Powys-Keck. 13-7-65.
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.

MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

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

Ref: 8847
This item has been sold





Portrait of a Lady of the Popham family c.1670; Circle of Wissing.
An attractive and colourful image of a young lady of fashion.
LITTLECOTE HOUSE AND THE POPHAMS.
The first Littlecote House 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 lady, were sold by Sotheby's at a three day sale.

WILLIAM WISSING also known as Willem Wissing, (1656 - 1687), was a Dutch portrait artist.

He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630–97) and Arnoldus van Ravestyn (1615–90). In 1676, he moved to England, where he studied with and assisted Sir Peter Lely.
After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
In 1685, James II of England sent Wissing to the Netherlands to paint portraits of his Dutch son-in-law and daughter, the future William III of England and the future Mary II of England. Wissing died in 1687 at the peak of his fame as a portrait painter, at Burghley House, the home of Algernon Capell, 2nd Earl of Essex outside of London.
He was buried in St Martin's Church, Stamford, Lincolnshire.

SIZE: 37.5 x 32 inches inc. frame.

PROVENANCE:
*By descent in the Popham family.
*Sotheby's sale, The Contents of Littlecote House, Wiltshire, 20-23 November 1985.
*Private Collection.
Ref: 8649
This item has been sold





Portrait of a Lady within a garland of flowers c.1670: Studio or Circle of Jakob Ferdinand Voet.
Oil on canvas in a period frame.

A fine portrait of a young lady surrounded by flowers, symbolising her youth, beauty and future fruitfulness; but also a warning, flowers and youth are fleeting things.
As this portrait would have been painted in Rome, and came latterly from the Hotel de la Ville there, it is likely to have been in Rome all its life until now.

JAKOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century.
He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture.
Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Certain Englishmen who visited Rome on their Grand Tour, also commissioned Voet to paint their portraits. Voet specialized in half-length portraits, he was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have a reflective expression. Usually they have very striking, memorable eyes, always large and evocative.

SIZE: 49 x 42 inches inc. frame.
PROVENANCE: Hotel de la Ville, Rome. (Image 5) Part of Rome's elite social scene since 1925, originally a 17th century monastery, situated near the top of the Spanish steps. Many famous people stayed here, such as Federico Fellini, Marlon Brando, Sean Connery and Brigitte Bardot, to name but a few.
This portrait, and its companion, also on this website, hung in the Restaurant.
Ref: 9013
This item has been sold





Portrait of a Lady within a garland of flowers C.1670: Studio or Circle of Jakob Ferdinand Voet.
Oil on canvas in a period frame.
A fine portrait of a young lady surrounded by flowers, symbolising her youth, beauty and future fruitfulness; but also a warning, flowers and youth are fleeting things.
As this portrait would have been painted in Rome, and came latterly from the Hotel de la Ville there, it is likely to have been in Rome all its life until now.
JAKOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century.
He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture.
Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Certain Englishmen who visited Rome on their Grand Tour, also commissioned Voet to paint their portraits. Voet specialized in half-length portraits, he was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have a reflective expression. Usually they have very striking, memorable eyes, always large and evocative.
SIZE: 49 x 42 inches inc. frame.
PROVENANCE: Hotel de la Ville, Rome. (Image 5) Part of Rome's elite social scene since 1925, originally a 17th century monastery, situated near the top of the Spanish steps. Many famous people stayed here, such as Federico Fellini, Marlon Brando, Sean Connery and Brigitte Bardot, to name but a few.
This portrait, and its companion, also on this website, hung in the Restaurant.
Ref: 9014
This item has been sold





Portrait of a Lady, 1903 by Hugh Goldwin Riviere RP.
Oil on canvas in a good gilt frame. Signed and dated lower left 1903.
Verso: chalk inscription 'Mrs. Wallace'...whether this is the sitter, owner, or both is not known.

This is a fine quality Edwardian swagger portrait typical of Society portraiture of the time.
In a panelled room, sitting in a Chippendale armchair and wearing her fashionable furs, lace and diamonds the sitter is very much a 'grande dame' of the 1900s...but this is not a stilted or stiff portrait. The sitter has humour in her face, her pose is relaxed and confident as she turns in her chair to face us; and Riviere's bravura brush work - a real enjoyment in the use of the medium - gives an informal and intimate feel to the portrait.

HUGH GOLDWIN RIVIERE RP (1869-1956) was born in Bromley and was the son of the artist Briton Riviere. He was educated at St. Andrews University and then studied at the Royal Academy Schools.
He established a successful society portrait practice.
He exhibited 90 paintings at the Royal Academy,1 at the Royal Hibernian Academy, 24 at the Walker Art Gallery, Liverpool and many others; he was elected to the Royal Society of Portrait Painters in 1900.
Riviere worked and lived in Paris and London and later in Midhurst, Sussex.
His work can be seen in the National Portrait Gallery, London; in total there are 69 of his portraits in public collections.

SIZE:60.25 x 50 inches inc. frame.
PROVENANCE: Private Collection, Midlands.
Ref: 8903
This item has been sold





Portrait of a Lady, possibly Barbara Villiers, c.1662; Circle or Studio of Lely.
Oil on canvas in a carved and giltwood frame.

A beautiful portrait of a beautiful young woman; she regards us with a coolly provocative look. Her hand, raised to her head, was the acknowledged symbol for thought and consideration, especially of a fashionable 'melancholy' type. Melancholia was considered the sign of a sensitive, intelligent and poetic nature.
This was a pose much used by Lely; he painted Barbara Villiers, Countess of Castlemaine, Duchess of Cleveland and long term mistress of Charles II in similar poses several times, only the position of the head is different. See Image 5, painted in 1662 when Barbara was 22 years old, where she wears exactly the same clothes and jewellery as in this painting.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE:54 x 44 inches inc. frame.
PROVENANCE:Old English Collection.
Ref: 8923
This item has been sold



 
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