Portrait of a Young Boy 1692; Follower ...

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Oil on canvas in a period frame. Inscribed "ATAT SUAE 4. ANNO DNI 1692" (At his age of 4, in the Year of our Lord 1692).
This is a portrait of great charm; the young sitter is depicted within a fashionable feigned oval, unusually, his hand is shown resting upon it....almost like a trompe l'oeil.
He wears the clothing of a member of the gentry and has the air of confidence thought befitting for one of his class. He still wears a skirt at this age, boys were not 'breeched' until the age of 6 or 7 and this was an important event, marking his progress towards adulthood.
The artist was probably provincial but aware of the extremely fashionable artist Nicholas de Largilliere (1656-1746).

SIZE: 35.5 x 29 inches.
PROVENANCE: Spanish country house, part of a family collection acquired over several generations, which has remained untouched in the hills of Andalusia for the past 50 years.
The final image shows the verso of the canvas before conservation.


Portrait of a Member of the Bishop ...

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Oil on canvas in an 18th century giltwood frame. The sitter was a brother of James Bishop of Lower Tre-Kyninge, uncle of Anne Bishop, afterwards Rogers. There was an old label to this effect on the back of the frame, now unfortunately lost.
The sitter wears a costly silk robe, very fashionable for informal wear, yet he retains his formal wig for his portrait. The statement being made is all to do with wealth and status. He is depicted writing, an indication that he was of a literary inclination.

The Bishops were a Cornish gentry family, possessed of several estates. However, when Anne Bishop, sole daughter and heiress of James Bishop Esq, of Lower Tre-Kyninge, married Hugh Rogers Esq, High Sheriff of Cornwall, in 1770, all Bishop possessions passed to the Rogers family.

In late 2018 Charles Rogers of Penrose House died, and in 2019 this portrait and others were sold.
This portrait is not signed by the artist, but others in the collection were, and it is obvious that the same hand was responsible. The signature was 'B. Burghende'. This was Bartholomeus van Burgindis, a Dutch artist, working from 1663-1703. He painted many of the Cornish gentry and one of his portraits is in The Royal Cornwall Museum; Dr. Nathaniel Spry, dated 1703.

SIZE: 34 x 31.75 inches including the frame.
PROVENANCE: By descent through the Bishop and Rogers families of Penrose Estate, Porthleven, Cornwall.

Portrait of a Boy of the Crawley-Boevey ...

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Oil on canvas in a giltwood frame.

A charming portrait of a young boy likely to be a member of the Crawley-Boevey family, late 18th century, painted within the feigned oval that was so fashionable at the time.
It is possible that the sitter is Sir Thomas Crawley-Boevey, 3rd Bt., born on 28 November 1769. He was the son of Sir Thomas Crawley-Boevey, 2nd Bt. and Ann Savage. He was baptised on 1 December 1769 at Flaxley Abbey.
He married Mary Albinia Page, daughter of Sir Thomas Hyde Page and Mary Albinia Woodward, on 28 October 1807. He died on 10 January 1847 at age 77 at Flaxley Abbey and was buried there.

The artist is unknown and was probably one of the many provincial portraitists of the 18th century with influences by Kneller, Jervas, Richardson and other top artists; this mixture became a no nonsense, direct style of portraiture typical of the English School.

SIZE: 22 x 19 inches.
PROVENANCE:Collection of the Crawley-Boevey baronets who had Flaxley Abbey, Gloucestershire (see Image 8) as their seat since 1642.
Sold by direction of Sir Lance V.H. Crawley-Boevey (1900-1968) by Bruton, Knowles and Co. at the Six Day Sale of the Contents of Flaxley Abbey. Bought by F. Baden Watkins the new owner of Flaxley.
Lined and restored for Flaxley Abbey Estate Ltd by Frost & Reed Ltd. c. 1965.

Between 1962 and 1963 Flaxley Abbey's interior was restored by Tony Award winning theatre and set designer Oliver Messel.
Philip Baden-Watkins sold much of the Flaxley collection, including this portrait, in March 2015.

Portrait of Gervais Nevile c.1720; attributed ...

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Oil on canvas in good quality period frame (damaged on the reverse of the right hand bottom corner, but barely visible from the front).

This fine quality portrait may be of Gervais Nevile, born c.1676 at Wellingore Hall, Kesteven, Lincolnshire. His parents were Bryan Nevile (1640 - 1754) and Martha Ellis (1652 - 1710).
His first marriage was in the 1690s and he married for a second time in June 1711 and his wife, Honora, bore him nine children, of whom only three survived. Honora was the daughter of Dr. John Richards MD of Chelsea (1655-1697/8).
(Our thanks to Christopher Richards for the bigraphical information).

The Neviles of Aubourn Hall and Wellingore Hall, are an ancient Lincolnshire family, who descend in the male line from Gilbert de Nevile, mentioned in the Doomsday Book and an ancestor of the Nevills, Earls of Westmoreland.

JONATHAN RICHARDSON Snr (c1665 - 1745 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. His works were sound, solid, good likenesses, and unpretentious.

SIZE: 36 x 32 inc. frame

By descent through the Nevile family of Aubourn and Wellingore.
Verso: old handwritten label "Living Room. No. 4"

(Image 4 shows Aubourn Hall today, and Image 5 Wellingore Hall).

Portrait of James, Duke of Monmouth as ...

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Oil on canvas in a modern reproduction frame.

JAMES SCOTT, 1st and last Duke of Monmouth, was born on 9 March 1649 at Rotterdam, The Netherlands. The eldest of Charles II's fourteen illegitimate children, Monmouth was the son of Lucy Walter. He fought in the Second and Third Anglo-Dutch wars gaining a considerable reputation as one of Britain's finest soldiers. He married Anne Scott, Countess of Buccleuch, daughter of Francis Scott, 2nd Earl of Buccleuch and Lady Margaret Leslie, on 20 April 1663 at Earl of Wemyss' house, London, England.
Charming and ambitious, he was put forward as a Protestant candidate for the throne at the time of the 'Popish Plot' in 1678. On his father's death in 1685 he led the 'Monmouth Rebellion', an attempt to take the throne from his uncle, James II. He landed in England with a small Protestant army and issued a declaration in which he accused James of poisoning the late king, usurping the throne and ruling against the law. He was defeated at Sedgemoor and was captured in the New Forest a few days later, and executed in the Tower of London on July 15 1685.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles II, 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: 36 x 28.75 inches including the frame.
PROVENANCE: London Private Collection.
Note: verso, a pencilled inscription incorrectly names the sitter as John Wilmot, 2nd Earl of Rochester.


Portrait of a Young Girl c.1670; Circle ...

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Oil on canvas in a reproduction gilt frame.

The sitter, standing by a stone balustrade and looking at the roses, seems to have become aware of the viewer and turns with a half smile and a mildly inquiring look.
This is a fine quality painting showing the expertise of the artist in the depiction of very different things...the fresh young skin of the sitter, the hard stone of the balustrade, the fragility of the flowers and the soft lustrous silks of the girl's clothing.

The flowers are highly symbolic, they are the attribute of Spring personified...and the girl is in the Spring of her life. They also represent Smell, one of the Five Senses, and of the goddesses Flora and Aurora. They are sometimes the attribute of Hope and they represent the fleeting quality of life and the evanescent quality of childhood.
The rose, of course, is also a symbol of love.

ABRAHAM VAN DEN TEMPEL (c.1622 – 8 October 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden.
According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families.
Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.

He became Master of the Guild of St. Luke in 1657 and in 1659 he was Chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling.

Our thanks to Villa Nuova Fine Arts.

SIZE: 31.50 x 27 inches framed. (80 x 68.5 cm)
Canvas size: 24 x 19.5 inches (61 x 49 cm).
PROVENANCE: private collection.
VERSO: old printed label: 'Maas. Portrait of a girl plucking roses'.


Portrait traditionally said to be of Sir ...

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Oil on canvas in a later giltwood frame.
This portrait is after one, exactly the same size, in the collection of The National Portrait Gallery. Acquired in 1910 it was said to be of Hudson by Mytens until quite recently; they now say 'Unknown man, formerly known as Jeffrey Hudson, by unknown artist, mid 17th century'.
Also in the NPG collection is a line engraving of the portrait, naming the sitter as Hudson, published in 1810, by James Stow after Daniel Mytens. Again, the NPG now say unknown artist and sitter.

The famous writer and antiquary George Vertue (1684 – 24 July 1756) wrote in his section on Mytens "At St. James's is Jeffrey Hudson the dwarf, holding a dog by a lead string, in a landscape.... A later footnote adds "there is a repetition of the picture at Holyrood House".

SIR JEFFREY HUDSON (1619 – circa 1682) was an English court dwarf at the Court of Queen Henrietta Maria. He was famous as the "Queen's dwarf" and "Lord Minimus", and was considered one of the "wonders of the age" because of his extreme but well-proportioned smallness. Knighted by the Henrietta Maria, he fought with the Royalists in the English Civil War and fled with the Queen to France, but was expelled from her court when he shot and killed William Crofts in a duel. Crofts was a powerful figure as the Queen's Master of Horse and head of her Lifeguard. Initially sentenced to death he was exiled.
Within months, aged 25, Hudson was on a ship that was captured by Barbary pirates; he spent 25 years as a slave in North Africa before being ransomed back to England.
On his return Hudson lived in Oakham for several years, where he was interviewed and a short record of his life made, by an antiquarian named James Wright. In 1676 Hudson returned to London, perhaps to seek a pension from the Royal Court. He had the misfortune of arriving at a time of turbulent anti-Catholic activity, which included the "Popish Plot" of Titus Oates (also from Oakham), and was imprisoned "for a considerable time" at the Gatehouse prison. Being a "Roman Catholick" was his only recorded offence, but he was not released until 1680. He died about two years later on an unknown date, in unknown circumstances, buried in an unmarked Catholic paupers' grave.
(Our thanks to Richard Grigson for his invaluable help.)

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt.

SIZE: canvas 49 x 32 inches.
Frame 55.5 x 39 inches.
PROVENANCE: Private Collection, Belgium.


Portrait of a Lady c.1685: Circle of ...

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Oil on canvas in a very fine Italian carved and giltwood frame.
This excellent painting is a good example of the art of the Baroque period, with great care give to the depiction of the sitter's expensive silks and lace.

Adriaen Hanneman (c. 1603 - buried 11 July 1671) was a Dutch Golden Age painter best-known today for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck.
He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn

SIZE:43 x 37 inches inc. frame.
PROVENANCE: From a Belgian chateau and by descent.


Portrait of a Young Gentleman c.1685; Attributed ...

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Oil on canvas in later giltwood frame.

The fashionable and expensively dressed sitter looks confidently out of the frame as if surveying his extensive lands.
His high wig (from which fashion came the expression 'big-wig' for someone important), his silks, his sword and particularly his stance, all make this the archetypal Baroque portrait.
The pose and treatment of the material are typical of Kerseboom. The hugely expensive lace is depicted with great care and skill.
This type of portrait was usually on a larger scale e.g. 50 x 40 inches; the fact that this is 'in small' suggests that it was for the 'cabinet'...the intimate room for favoured possessions that was so fashionable during the Baroque period. Perhaps painted for a wife or lover?

JOHN (JOHANN) KERSEBOOM (working 1680s - 1708) Born in Solingen, the Rhineland; came to England in the 1680s he quickly acquired a large portrait clientele. His patterns derive from Lely and Kneller, but his heads have recognisable individuality. He charged £16 10s for a framed 50 x 40 in 1694.

SIZE:canvas size; 20 x 16 inches.
24.25 x 20 inches inc. frame.
PROVENANCE: Private Collection.

Portrait of Mette Dorothea Nielsdatter Randulf c.1712; ...

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Oil on canvas in a reproduction frame.
This is a charming portrait of Mette (whose name means Pearl) probably painted on the occasion of her betrothal to Oluf Cosmussen Borneman in 1712. The attractive young woman wears her hair (wig?) in the latest fashion of the time; her clothing is expensive, trimmed with fine lace. She is depicted within a feigned oval as was popular.
She was born in 1685 and died in 1729, aged 44.
Oluf (born in 1683) was made Bishop of Bergen in Norway in 1731until his death in 1747.

SIZE: Canvas: 30.25 x 25.25 inches. Frame size: 35.5 x 30.5 inches.
PROVENANCE: Private Collection, Norway.
Verso: old handwritten label (image 6).

Triple Portrait of a Dutch Family c.1635; ...

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This charming portrait is "an example of a new type of portrait that Thomas de Keyser had been developing since 1620; small, full-length portraits were an innovation in Amsterdam portraiture. These polished and elegant portraits, which make such a powerful impact despite their relatively small size are the highlight of de Keyser's oeuvre and help to explain his great success in Amsterdam." (Dutch Portraits. Published by The National Gallery)
This prosperous family are all fashionably and expensively dressed and it seems as if the painting carries a message, not known to us. They stand, the little girl looking up at her mother, as if they have just exited a cave behind them. The lady looks quietly content as her husband points the way past a ruinous building. Whatever the message was it seems to have been one of wealth, hope and confidence.

THOMAS DE KEYSER, (1596 - 1667) was the second son of Hendrick de Keyser (1565–1621), the famed Dutch architect, sculptor, and municipal stonemason of the city of Amsterdam, and his wife Beyken (Barbara) van Wildere, who hailed from Antwerp. Thomas de Keyser gained lasting renown for a significant innovation in Dutch portraiture. He began to paint the Dutch elite in full-length formal portraits, a format hitherto reserved for the aristocracy, but he drastically reduced the scale of such portraits to make them suitable for his patrons’ urban homes. Despite his fame as a portraitist, De Keyser produced slightly fewer than one hundred paintings. He created the bulk of his oeuvre in the period between 1624 and 1639, after which his primary focus shifted back to the lucrative international stone trade, yielding the Amsterdam portraiture market to Rembrandt, Govaert Flinck (Dutch, 1615 - 1660), and Bartholomeus van der Helst (1613–1670).

SIZE: 35.25 x 31.25 x 1.75 inches including the frame.
PROVENANCE: London Private Collection.

Portrait of a Young Lady as Diana ...

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Oil on panel in 18th c. gilt frame.
The elaborate gilt frame presents this lovely little portrait like a jewel in a rich gold setting.

The young sitter is depicted in an open landscape.
This beautifully executed portrait captures the shimmering quality of the sitter's garments...the silk, fine linen and delicate gauze all compliment the delicacy with which the girl's face is painted.

The fashionably, and expensively, dressed young lady is depicted as Diana the Huntress, goddess of the hunt, moon and birthing.
The sitter holds a bow in one hand and an arrow in the other.
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 (1614-1670) 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: panel 17 x 13 inches.
Frame: 24 x 20.5 inches
PROVENANCE: *English Private Collection.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.