'The Cardinal'; a pottery bust by John ...

Item Ref

A superb, and rare, artwork by John Fortnum, with a very powerful presence, it is pottery, but simulating charred wood...as if the bust had been rescued from a fire, but had been subject to great heat. It is, in appearance, timeless; it could date from the Italian Renaissance and be of wood, perhaps once painted; it could be, as it is, 33 years old...it moves effortlessly through a 600 year time span. It is a free standing 'trompe l'oeil' in that it hides its true material and presents us with a wide range of perceptions.
This is a very evocative sculpture which can inspire many messages … on art, survival, religion, life, apparent damage as enhancement....truly a very thought provoking item, as well as being a glorious sculpture.

Signed and dated '86; this is number 7 of a limited edition of 8. How many others have survived the last 33 years is not known.
"My Sculpture can be seen in some of the wildest landscapes in Britain, from the North Atlantic seascapes of the Orkney Isles to the North York Moors, where I have used the wind, rain, and oxidation as natural elements in Landscape sculpture. In my smaller more intimate sculptures the human body, with its architectural and structural aspects, is an underlying theme. I am fascinated by the alchemy of heat on materials. I enjoy using different materials and experimenting with a wide range of sculptural possibilities." John Fortnum, born 1945.
SIZE: 25.5 inches tall, 20 inches wide, 12 inches deep.
PROVENANCE: London Private Collection.

Portrait of Philippe II, Duke of Orleans ...

Item Ref

Oil on canvas in a good quality reproduction frame.

This is a superb quality painting, the depiction of the various materials...silk, lace, gold, steel, hair and flesh is exquisite. Hands are often problematic with lesser artists but here they are totally realistic.
The Duke wears the Bourbon white silk sash and holds the baton of command of a high ranking officer.

PHILIPPE II, DUKE OF ORLEANS (1674-1723), Regent of France, the son of Philip I, duke of Orleans, and his second wife, the princess palatine, was born on the 2nd of August 1674, and had his first experience of arms at the siege of Mons in 1691. His marriage with Françoise-Marie de Bourbon, Mlle. de Blois, the legitimized daughter of Louis XIV, won him the favour of the king. He fought with distinction at Steinkerk, Neerwinden and Namur (1692-95). During the next few years, being without employment, he studied natural science. He was next given a command in Italy (1706) and in Spain (1707-08) where he gained some important successes, but he cherished lofty ambitions and was suspected of wishing to take the place of Philip V on the throne of Spain. Louis XIV was angry at these pretensions, and for a long time held him in disfavor. In his will, however, he appointed him president of the council of regency of the young King Louis XV (1715). After the death of the king, the duke of Orleans went to the parlement, had the will annulled, and himself invested with absolute power. At first he made a good use of this, counselling economy, decreasing taxation, disbanding 25,000 soldiers and restoring liberty to the persecuted Jansenists. But the inquisitorial measures which he had begun against the financiers led to disturbances.

There existed a party of malcontents who wished to transfer the regency from Orleans to Philip V, king of Spain. A conspiracy was formed, under the inspiration of Cardinal Alberoni, first minister of Spain, and directed by the prince of Cellamare, Spanish ambassador in France, with the complicity of the duke and duchess of Maine; but in 1718 it was discovered and defeated. Dubois, formerly tutor to the duke of Orleans, and now his all-powerful minister, caused war to be declared against Spain, with the support of the emperor, and of England and Holland (Quadruple Alliance). After some successes of the French marshal, the duke of Berwick, in Spain, and of the imperial troops in Sicily, Philip V made peace with the regent (1720).

On the majority of the king, which was declared on the 15th of February 1723, the duke of Orleans resigned the supreme power; but he became first minister to the king, and remained in office until his death on the 23rd of December 1723. The regent had great qualities, both brilliant and solid, which were unfortunately spoiled by an excessive taste for pleasure. His dissolute manners found only too many imitators, and the regency was one of the most corrupt periods in French history.

Father: Philip I, Duke of Orléans
Mother: Elizabeth Charlotte, Princess Palatine (b. 1652, d. 1722)
Wife: Françoise-Marie de Bourbon, Mlle. de Blois (b. 1677, m. 1698, d. 1749)
Son: Louis, duke of Orléans (b. 1703, d. 1752)

Santerre was born at Magny-en-Vexin, near Pontoise. A pupil of Bon Boullogne, he began his painting career at a portraitist, with a notable work being a portrait of Marie Leszczynska with the Maison de St Cyr in the background (now at the musée de Versailles). He won a major reputation thanks to his academies. His most notable work is his Susanna Bathing (Louvre), the diploma work executed by him in 1704, when he was received into the Académie (1730–1770) and Jean-Honoré Fragonard (1732–1806). He painted the Duc d'Orleans on several occasions

SIZE: 52.5 x 51.75 inches inc. frame.
PROVENANCE: Private collection, East Kent.

Portrait of Louis XIV as a Child ...

Item Ref

Oil on canvas in a period carved and giltwood frame.
Louis was born on 5 September 1638 at St Germain-en-Laye. He became king at the age of four on the death of his father, Louis XIII.
While Louis was a child, his mother, Anne of Austria, served as regent, assisted by Louis XIII's chief minister, Cardinal Mazarin.
Louis's early years were marked by a series of rebellions against his mother and Mazarin, which were known as the 'Fronde'. These created in him a lifelong fear of rebellion, and a dislike of Paris, prompting him to spend more and more time in Versailles, southwest of Paris. In 1660, he married Maria Theresa, daughter of Philip IV of Spain.
When Mazarin died in 1661, the 23-year-old Louis decided to rule without a chief minister. He regarded himself as an absolute monarch, with his power coming directly from God. He carefully cultivated his image and took the sun as his emblem, and was known as The Sun King. Between 1661 and 1689, he built a magnificent palace at Versailles and moved his government there from Paris in 1682.
In the early part of his reign, Louis worked with his finance minister, Jean-Baptiste Colbert, to tighten central control over the country, reviving the use of regional royal officials, 'intendants' and carrying out other financial and administrative reorganisation. Louis also expanded the French army and navy.
Louis's reign was marked by aggressive French foreign policies. After the death of his father-in-law, Louis claimed part of the Spanish Netherlands and launched the War of Dutch Devolution (1667-1668). In the Second Dutch War, he failed to crush the Dutch, led by William of Orange, but made significant territorial gains.
In 1685, Louis, a devout Catholic, revoked the Edict of Nantes which had allowed freedom of worship to French Protestants (Huguenots). Around 200,000 Huguenots, many of them skilled craftsmen, fled to Holland and England.
The last three decades of Louis's reign were marked by almost constant warfare. France was now the dominant power on the continent and other European nations felt threatened by this supremacy. The War of the League of Augsburg (1688-1697), followed by the War of the Spanish Succession (1701-1714) severely strained French resources. In the War of the Spanish Succession, for the first time in nearly a century France consistently lost battles, most notably at Blenheim in 1704 and Ramillies in 1706.
Louis XIV died on 1 September 1715, shortly after the Peace of Utrecht which ended the War of the Spanish Succession. As his eldest son and grandson had died before him, his great-grandson succeeded him as Louis XV.
CHARLES BEAUBRUN (1604–1692) was a French portrait painter active in Paris between 1630 and 1670.
He was born at Amboise, a member of a distinguished family of painters.
He studied under his uncle Louis Beaubrun (d. 1627). He and his cousin Henri Beaubrun (II (1603–1677), were portrait painters in the courts of King Louis XIII and Louis XIV of France. Some of his work is jointly attributed to Henri. His youngest brother, Michel Beaubrun (d 1642), was also a painter. Charles died at Paris in 1692.
SIZE: 32 x 27.5 inches framed.
PROVENANCE: The Collection of the late Anne, Lady Winnington of Brockhill Court, Worcestershire, and London.

Portrait of a Gentleman c.1765; Circle of ...

Item Ref

Oil on canvas in a fine period frame.

This is an excellent portrait very much influenced by Allan Ramsay; the sitter regards us with a level and confident gaze with no arrogance or posturing. A portrait that makes one feel that the sitter was truly a gentleman of good character.

ALLAN RAMSAY 1713–1784.
Ramsay was born in Edinburgh. His father, also Allan Ramsay, was an important Scottish poet from whom the younger Ramsay inherited a tradition of strong nationalistic pride. Ramsay junior was instrumental in formulating a native Scottish style of painting, as his father had done for poetry.
Ramsay studied in London at St Martin's Lane Academy and at Hans Hysing's studio, before going to Italy. He worked from 1736 to 1738 at the French Academy in Rome under Francesco Imperiali and under Francesco Solimena in Naples. 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. He was elected a Fellow of the Society of Antiquaries in 1743. 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: 38.5 x 33.25 inches framed
PROVENANCE: Long term private collection, Wiltshire.

Victorian needlework sampler 1886

Item Ref

This sampler, created by the young Fanny Lodge in the Victorian period, is in truly wonderful condition .. the colours as bright as the day they were used.
It has been in one family since new, and spent the the first hundred years of its life in tissue paper in a drawer.
Framed in 1987, it has since hung out of direct light, and thus is remarkably unfaded and undamaged.
To find a needlework of this age and in 'as new' condition is extremely rare .. this is a collector's item of museum quality.

SIZE: 15.25 x 12.25 inches including the frame.
PROVENANCE: In one family since made.

Portrait of a Gentleman of the Adams ...

Item Ref

A fine portrait typical of Dahl's mature style. Painted within a feigned oval, the sitter is relaxed but views us with a direct gaze, The high quality carved and giltwood frame is the original.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.
His style is extremely close to Kneller but his interpretation of character is less brash and more human.

SIZE: 37.75 x 32.75 x 2.25 inches.
PROVENANCE: A copperplate hand written inscription "***well Adams"
Old label verso identifying the sitter as a member of the Adams family.
A Ston Easton inventory sticker P23.
Consigned to Christies from a Hull private collection.
Latterly in a Surrey private collection.

William and Mary marquetry mirror c.1695.

Item Ref

This is an object of great beauty, the frame of good faded colour and patina, the glass appropriately and subtly distressed but throwing an excellent reflection. The slightly bevelled glass is almost certainly the original.
An antique mirror glass should not be perfect; the silvering is often worn. While there are ways to resilver an original glass, remember that slight blemishes or "diamond dusting" in an antique mirror is considered highly desirable.

Mirror glass was a great luxury during the late 17th century, for it was in short supply and, at the time, only produced and exported from Italy. A large example such as this rare William and Mary mirror would have belonged to a family of great wealth and prestige. Since the process to produce mirrored glass was so costly and labour-intensive, the frames that surrounded these treasured items were important in both function and design. It seems odd to modern minds that the mirror glass was much more valuable than the exquisite frames, which were there just to protect the glass.

When choosing a mirror for any room in your house, remember that mirrors give space...they don't take up space. A small rooms is instantly larger when a mirror is placed in it. A gloomy hall can be transformed by a judiciously placed mirror. Pier mirrors were often placed between windows where the wall was dark to add light and air. So, don't assume that your small room will need a small mirror; just the opposite may be true.

SIZE: 32.75 x 25.25 inches.
PROVENANCE: Private Collection.

Portrait traditionally said to be of Sir ...

Item Ref

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.

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 an Officer c.1710; Attributed to ...

Item Ref

Oil on canvas in the original high quality carved and giltwood frame.

A fine portrait of a military officer, almost certainly by Kneller. There is considerable quality here as can be seen, in the face, the hands (often problematic to many artists) and in the totally believable way the officer's clothing is painted.
Although this portrait has descended through one family for at least 160 years the identity of the sitter had been lost. In fact it had come to be believed that the sitter had been an officer in the Peninsular war of 1818-1814 and had served under Wellington! The clothes, the wig...in fact the whole portrait...clearly show a date 100 years earlier than that.
Unknown the sitter may be (although the family say his surname was Witherden) but this is an excellent portrait of the early 18th century.
It is a fine example of the Augustan style portrait for which Kneller is now best remembered. It dates from his later middle period (c.1710), when he produced his most distinguished paintings including the celebrated Kit-Kat series.

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 Painter, 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 includes penetrating studies of many of the leading figures of Whig Society such as the famous Kit-Kat portraits now in the National Portrait Gallery (Beningborough Hall, Yorkshire), which include the likenesses of Sir John Vanbrugh, Charles 3rd Earl of Carlisle, and others.

SIZE: 58 x 48 inches inc. frame.
PROVENANCE:With a Surrey family for at least a century and a half.


Rare Laburnum Armchair c.1680.

Item Ref

This is a very rare piece of furniture in laburnum wood, Scottish, Dutch influenced as was much chair design at this time, with spiral turned open arms, raised on turned legs joined by further spiral turned stretchers. It is expensively upholstered in cut velvet.
There are small areas of old woodworm damage, non active, and the ball feet have been replaced; the chair is sturdy, sound and perfectly usable.

It has an interesting PROVENANCE, having belonged to WILLIAM TEACHER (1811-1876), Scottish wine and spirit merchant, and thence by descent.

William Teacher was working in a grocer’s shop in the Glasgow district of Anderston when he married the grocer’s daughter in 1834 and began to sell whisky from the shop. In 1856 he was granted a ‘licence for consumption’ and opened his first ‘Dram Shop’. Ultimately the chain of well-regulated premises with high quality whisky on sale grew to 18, making William Teacher the largest single licence holder in Glasgow.
By this time his sons William Jr. and Adam had joined the business and the family firm became involved in wholesaling and in blending whisky. Early brands offered by the Teachers included Australian Bonded Grand Liqueur, Extra Special and Hibernian Cream, but the one that proved most popular was named Highland Cream, which was registered in 1884.

DIMENSIONS: 25.25 inches wide, 44.5 inches tall, 16.5 inches deep.

Portrait of a Gentleman c.1800; Attributed to ...

Item Ref

John Opie was born in St Agnes, near Truro in 1761. From an early age he showed a talent for drawing, in addition to a more general academic excellence. He soon established a local reputation for portrait painting and was discovered by John Walcot who introduced him to London in 1781 as “The Cornish Wonder”. This nickname was mainly due to the fact that he was completely self-taught.
His style as a portrait painter was marked by strong realism, and striking contrasts of light and dark.

This very fine and insightful portrait was created at the turn of the 18th century, and shows the sitter against a dark background with a hint of a rich drapery to his left. The half-turned head with its dark hair is set against the bright white necktie and waistcoat. The extraordinarily strong presence of the sitter evokes the spirit of Baroque painting during the seventeenth century. It was Opie’s abilities in chiaroscuro which is said to have won the praise of Sir Joshua Reynolds, who reputedly described him as ‘like Caravaggio and Velazquez in one.’ The brooding spirit of early-Romanticism, through the lens of knowledge of the Old Masters is strong in this work.

Born the son of a carpenter in a tin-mining district of Cornwall before being discovered as a child prodigy. His natural gifts in drawing were discovered by Dr John Walcot (1738-1819), whose protection and patronage helped to nurture the boy’s gifts before he was brought to London in 1781 where his works caused great sensation. He quickly received the patronage of the Royal Family alongside leading figures of the nobility and cultural elites. Opie was elected an Association of the Royal Academy in 1786 and was made an RA the following year. His successful portraits of the likes of Mary Delany, Mary Wollstonecraft, Samuel Johnson and Henry Fuseli have become some of the most lasting and iconic images of these sitters. Although also known as an artist of historical and genre scenes, his portraits have received perhaps the most enduring interest and fame since his death. His efforts in portraiture placed him in direct competition to the likes of Thomas Lawrence, James Northcote and Henry Fuseli.

After his death at the age of 45 in 1807 Opie was interred in the crypt of London’s St. Pauls’ Cathedral . This location, in the crypt next to Reynolds, demonstrated the high regard felt for the painter amongst his contemporaries.

CONDITION: in excellent conserved condition apart from a repaired large L-shaped tear to the left of the background. In most lights this is not visible, but, as can be seen in Image 6, under a glancing light it shows. Allowance for this has been made in the asking price.
SIZE: 36 x 31.25 inches inc. frame.
PROVENANCE: Private London Collection.


Portrait of the Hon. William Feilding c.1710; ...

Item Ref

Oil on canvas in fine carved and giltwood period frame.
The Honourable WILLIAM FEILDING (1669-1723), of Ashtead, Surrey and Duke Street, Westminster
Born 1669, 2nd son of William Feilding, 3rd Earl of Denbigh. Educated Eton c.1680–6; Queen’s, Oxford 1686.
Feilding, who in 1704 had bought an office with a salary of £500 p.a., made a highly advantageous marriage the following year to a wealthy widow, Lady Diana, daughter of Francis Newport, 1st Earl of Bradford, with a parliamentary seat at her disposal. She had title during her lifetime to the estates of her first husband (with no surviving children to complicate matters) and thereby enjoyed the nomination of one Member at Castle Rising. Feilding obtained the seat in 1705 when a family friend chose to sit elsewhere. Although himself the younger brother of a Tory peer, Feilding was now connected with various Court Whigs among his wife’s kinsmen and her first husband’s friends. He also came into contact with Robert Walpole II, who controlled the other seat at Castle Rising, but this association was not particularly friendly, as the Howard and Walpole interests co-existed in the borough uneasily and in a constant atmosphere of mutual distrust.
In Parliament Feilding was a Whig, with leanings towards the Court. On 18 Feb. 1706 he voted with the ministry over the regency bill. He was marked as a Whig in two lists of 1708. In the same year he resigned his office of lieutenant of the yeomen of the guard. Having supported the naturalization of the Palatines in 1709, the following year he voted for the impeachment of Dr Sacheverell, and on 7 Dec. 1711 he voted for the ‘No Peace without Spain’ motion. He opposed the French commerce bill on 18 June 1713 and voted against the expulsion of Richard Steele on 18 Mar. 1714. In the Worsley list he was classified as a Whig.
Feilding was appointed Clerk of the Green Cloth in 1716, most probably through the interest of his wife’s family, the Newports, both at Court and with their Shropshire ally Sir William Forester. This was a most important position, responsible for organising royal journeys and assisting in the administration and finance of the Royal Household. Feilding died at Epsom on 21 Sept. 1723 and was buried at Ashtead. ‘I regret him prodigiously’, wrote his niece, Lady Mary Wortley Montagu, on hearing of his death. His wife outlived him.
{Much of this information from The History of Parliament: the House of Commons 1690-1715, ed. D. Hayton, E. Cruickshanks, S. Handley, 2002.}
IMAGE 5 shows a studio portrait of Feilding on the right, inscribed with his name and further information. (We owned and sold this portrait in 2007.) In the centre of that image is another portrait of Fielding by Dahl (owned and sold by us in 2012), far left is this portrait, before cleaning. It was quite common for noblemen to return to their favourite artist for more portraits over the years; Studio copies were also made as gifts for relatives.
MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.
His style is extremely close to Kneller but his interpretation of character is less brash and more human.
SIZE: 38 x 32.75 x 2 inches including the frame.

PROVENANCE: *Sold about 30 years ago as of William Churchill, 1st Duke of Marlborough, attributed to Kneller.
*Derbyshire Private Collection since then, as of Duke of Marlborough.