Portrait of a Lady c.1755, by William ...

Item Ref

Pastel on paper in a fine gilded frame, both in superb condition.

The sitter is, as yet, unknown. Although painted in the mid 18th century she has chosen to depicted in the high fashion of a previous century; there was a craze for this at the time.
This is a portrait of the highest calibre and the sitter is sensitively portrayed. This beautifully preserved example of Hoare’s work demonstrates why he was so in demand by contemporaries and considered the finest exponent of the ‘darling modish study’ of pastel.

WILLIAM HOARE of Bath RA (c. 1707 – 12 December 1792) was a British portraitist, painter and printmaker, noted for his pastels. Born near Eye, Suffolk, Hoare received a gentleman's education in Faringdon. He showed an aptitude for drawing and was sent to London to study under Giuseppe Grisoni, who had left Florence for London in 1715. When Grisoni returned to Italy in 1728, Hoare went with him, travelling to Rome and continuing his studies under the direction of Francesco Imperiali. He remained in Rome for nine years, returning to London in 1737/8.

William Hoare was the first fashionable portraitist to settle in Bath, and he was the leading portraitist there until the arrival of Thomas Gainsborough in 1759. He remained the favourite of his powerful patron the Duke of Newcastle, his family, followers and political associates. Included amongst his other important patrons were the Earls of Pembroke and Chesterfield, and the Duke of Beaufort. With Gainsborough and Joshua Reynolds, he was a founding member of the Royal Academy.
Hoare was closely involved with the running of the Royal Mineral Water Hospital in Bath from 1742. He served as a governor of the hospital, and became acquainted with Bath's notable visitors and the neighbouring landed families. Chalmers described him as 'an ingenious and amiable English painter'. He died at Bath on 12 December 1792.

SIZE: 33.5 x 27 x 3 inches.
PROVENANCE: With Peter Jones 1980s.
Private Collection.

Portrait of Susannah Earle c.1740, by Henry ...

Item Ref

Portrait of Susannah Earle wearing a silk dress with lace collar and blue ribbons. Oil on canvas in the fine original carved and giltwood frame. Inscribed upper left 'Mrs Earle'.

Susannah Earle of Eastcourt House, Wiltshire (died 1796/1797) was the daughter of Alice White nee Hicks (born 1693) and therefore a first cousin of Sir Howe Hicks. She was born at Witcombe, Gloucestershire, and later was instrumental in introducing her Hicks cousins to the Beach family of Wiltshire paving the way for the creation of the Hicks Beach dynasty.
Her husband, William Rawlinson Earle (7 April 1702 - 10 August 1774), of Eastcourt House, Crudwell, near Malmesbury, Wiltshire, was a British politician who sat in the House of Commons for 40 years between 1727 and 1768.
He was the eldest son of Giles Earle and his wife Elizabeth Rawlinson, daughter of Sir William Rawlinson of Hendon House, Middlesex and widow of John Lowther of Lowther, Westmorland. He married, with £20,000, the heiress Susannah White, daughter of William White of Somerford, Wiltshire on 4 January 1731.

HENRY PICKERING (1720-circa 1775) was a fashionable and gifted portrait artist working in the style of the great Thomas Hudson. Hudson and Pickering were both known to use the famous drapery painter Joseph van Aken.
He travelled to Italy to learn from the old masters and seems to have returned to England, and London, by 1740. By the 1750s he seems to have worked as an itinerant portrait painter travelling around the country, eventually settling in Manchester in 1759.
SIZE: 37 x 32 inches including the frame.
PROVENANCE: By descent.
LITERATURE 'A Cotswold Family: Hicks and Hicks Beach' published in 1909 by Mrs William Hicks Beach; it traces the Gloucestershire roots of the Hicks family back to the 14th century.
( From p.271 'She {Susannah} had twinkling pearl earrings and fashionable lace, and constantly reminded Witcombe, we may be sure, that Gloucestershire was not the universe')

Portrait of John Robinson of Denston Hall, ...

Item Ref

Oil on canvas in 18th century frame.
John Robinson married Frances Bromsal, and this is one of the portraits of the Robinson family bought back by Algernon Dunn Gardner from Augutus Benyon, whose mother has rented Denston Hall and bought furniture and pictures from Henrietta (Harriet) Pigott, the then owner of the estate, whose mother had been a Robinson.
Denston Hall in Suffolk was the estate which for centuries belonged to the Robinson family.
Having descended through various branches of the family the different estates became invested in Algernon Dunn Gardner in the early 20th century. Connected to the Robinson family by marriage, Dunn Gardner kept this portrait on the walls of Denston until it was removed by his daughter when the property was sold 30 years ago. It was then kept in storage until now.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture and a large number of artists, many very talented in their own right, emulated his fashionable style.

SIZE: 36.75inch framed height 32.00inch framed width
PROVENANCE:By descent at Denston Hall and then to Dunn Gardner in 1908 thence by descent.
VERSO:much handwritten information.

Portrait of Elizabeth Ogle, Circle of Michael ...

Item Ref

Oil on canvas in a fine carved and giltwood period frame c.1695.
ELIZABETH OGLE, (later Elizabeth Case), baptised 1674, was a member of a notable Lancashire gentry family of ancient origin. This portrait was very probably painted on the occasion of her marriage to Jonathon Case.
A parrot demonstrated the wealth of the sitter able to own such an exotic creature from non-European lands, and it wasn’t just the live birds that were valued, the plucked feathers of parrots were valued too.
Also...curiously...the parrot symbolised virginity. This was probably because of its association with the Virgin Mary in earlier art.

OGLE OF WHISTON. Arms: Argent, a fesse between three crescents gules.

The Ogles appear in Lancashire in the middle of the fifteenth century as stewards of the manor of Prescot. John Ogle, the earliest known, is said to have been a son of Sir Robert, first Lord Ogle, who died in 1469. Early in 1472 John Ogle of Prescot purchased lands in Rainhill from John, son and heir of Hugh Woodfall. Margaret, widow of John Ogle, and Roger their son purchased lands from John Travers, and the family continued to prosper, becoming possessors of the manors of Whiston and Halsnead, the purchaser being John Ogle.

John's son and heir Henry, born about 1586, married in 1610 Elizabeth, daughter of Robert Whitby of Chester, and had by her a numerous offspring. He died about 1649, but does not seem to have taken any part in the Civil War. Two of his sons, however, took arms on the king's side. Cuthbert, the eldest, received a commission from the Earl of Derby, but soon retired, and in 1646 took the National Covenant in London and compounded for his estates by a fine of £120. Henry his brother, holding a similar commission, took part in the defence of Lathom House.

Cuthbert died in 1670, the heir being his son Edward, whose daughter and eventual heir Elizabeth carried the manor to her husband Jonathan Case, of the Red Hazels in Huyton. About the beginning of last century the manor was held by Richard Willis of Halsnead, to whose heirs it has descended; but the hall was then in the possession of John Ashton Case, a Liverpool merchant, great-grandson of the above-named Jonathan.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London. 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'.

SIZE: 44 x 36 inches including the frame.
PROVENANCE: By descent through the family of the sitter. VERSO: old handwritten labels by Mary Radcliffe (bearing incorrect dates) and Thomas Edward Case.

Portrait of Judith Morice c.1730, by Enoch ...

Item Ref

Oil on canvas in a period gilt frame.
This is a fine and sensitive portrait of a young woman by Enoch Seeman, who painted her on at least two occasions. She was also painted by Allan Ramsay in an elegant full-length as the goddess Diana (Virginia Museum of Fine Arts).

JUDITH MORICE (1710-1743) was the second daughter of Humphry Morice of Werrington, near Launceston, Cornwall. On the 5th of June 1742 she married Sir George Lee, a Whig politician.
She died aged 33, and is buried in the vault of the Lee family in Hartwell Church, Buckinghamshire.

ENOCH SEEMAN the Younger (c. 1694 - March 1744) was a painter, active in England in the first half of the eighteenth century. He was born into a family of painters in Danzig (now Gdansk, Poland), around 1694.
Seeman was brought to London from his home of Flanders by his father, also Enoch (born 1661), in 1704. As a painter to the British royal court Seeman the Younger completed portraits of George I, in 1730, in the robes of his coronation and of George II some years later. The first of these pictures is held at the Middle Temple in London, England, and the second is at Windsor Castle in Berkshire, England, part of the Royal Collection.
He had a successful practice and his female portraits were much admired.
He died in 1744.
SIZE: 36 x 31 inches framed.
PROVENANCE: Presumably Hartwell Hall, home of the Lees.
Ruyton Hall, Shropshire.

Portrait of a Lady of the Palmer ...

Item Ref

The lady is traditionally identified as a member of the Palmer family of Dorney Court, Berkshire.
The sitter, fashionably dressed in her daring 'undress', looks confidently at the viewer. This is a good example of the typical society portrait of the time and representative of Murray's best work. The use of the feigned stone oval was typical of the period.
The hand carved and gilded frame is a work of art in its own right.

THOMAS MURRAY 1663 – 1734.
He received his first lessons in art from one of the De Critz family. Subsequently he became a pupil of John Riley.
His works of before 1700 are more independent of the style of Sir Godfrey Kneller than his later portraits
Murray was successful financially. He died in June 1734, leaving no children, and bequeathed his money to a nephew, with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much. His nephew, however, taking him at his word, buried him in St. Paul's, Covent Garden, and found the monument too expensive to erect.
SIZE: 34.5 x 29.5 inches including frame.
PROVENANCE: Horton Lodge, Windsor, Berkshire.

Portrait of a Lady, c.1680; Attributed to ...

Item Ref

Oil on canvas in a good 17th century carved and giltwood frame.

A fine painting, characteristic of Mary Beale's mature and best period. She presents a sympathetic and insightful view of the sitter. There is a sense of intimacy so that despite the lace and silk the she is not affected or pretentious. Beale saw her, as do we, with a clear gaze.
This is a beautiful portrait painted with the sensitivity that typifies the best of Beale's female portraits, coupled here with a pensive beauty.
The sitter is depicted within a feigned carved stone oval, much used by Sir Peter Lely and William Wissing, and which Beale used so often as to be almost a signature.

MARY BEALE (1633-1699) was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.

She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street. Mary Beale was not the only female painter in England, but her name alone has survived as that of the only woman to make a successful living, and to enjoy a flourishing practice as a portraitist.
She became reacquainted with Sir Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits. He was Beale’s strongest artistic supporter. The friendship between Lely and Mary Beale enabled her, famously, to observe the master in the act of painting – a remarkable privilege – in order to study his technique. It is perhaps not surprising, therefore, that many of her portraits have been misattributed to Lely or his Studio .She was widely reckoned to be Van Dyck's most accomplished copyist. Her grasp of Lely's colouring is evident, but the pleasant and direct manner in which she treats her sitters is entirely her own.

SIZE: 35 x 29.25 inches framed.
PROVENANCE: Private Collection, Kent; the previous owner now resident in South America.


Portrait of the Trench sisters c.1720; Attributed ...

Item Ref

This is a charming double portrait of the Trench sisters, they look out at the viewer, completely at ease. The subdued, almost pastel, colouring of their clothes and the youth of the attractive sitters, convey a sense of peace.
The elder holds some pearls, in addition to the ones she wears. The pearl is a symbol of perfection, virginity, and incorruptibility; it is a symbol of long life and fertility, and because of its lustre it is often considered a moon symbol. Buried within the oyster shell, the pearl represents hidden knowledge, and it is highly feminine.
The younger sister, also wearing pearls, holds a sprig of jasmine, which, in the language of flowers, symbolises amiability of character.
Both sisters wear flowers in their hair signifying their youth and future fertility.
The sitters are the daughters of Samuel Trench of Ducketts, one of whom, Susan (1713-1753) presumably the younger sister, married John Berney of Bracon Hall, Norfolk.
The manor of Ducketts had come into the possession of the Trench family in 1660, passing to Samuel who died in 1741, most of the estate then passed to Susan and her husband John Berney.

ROBERT BYNG (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of, and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 51 x 44.5 inches including the frame.
PROVENANCE: by descent through the family.

Portrait of a Young Boy 1711, by ...

Item Ref

Oil on canvas in period carved and giltwood frame.
Signed and dated lower left 'Jon. Verelst. P:1711'.

This charming portrait depicts a young boy wearing the fashionable, and expensive, 'banyan' or loose robe favoured for relaxation at that time.

JOHN VERELST (active 1698-1734) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and Willem.
John married Ann Tureng at St. James's in 1692. His signed and dated portraits range from 1699-1734. He always signed with a curly 'V'.

SIZE:37 x 31.5 inches inc. frame.
*Collection of Lady Rook of Sussex and London.
(Lady Rook, 1915-2003, was the widow of Sir William James Rook;she was the former Beryl Mary Rosalie Stait-Gardner of Kensington, London).
*With Roy Precious Fine Art.
*Private Collection, Lancashire

VERSO:late 19th c. trade label "J.A. Cooling & Sons, Dealers in Works of Art. 92, New Bond street, London".

Portrait of a Cornish Lady c.1730; English ...

Item Ref

Oil on canvas in an 18th century gilt frame.
A charming portrait typical of its period and influenced by the style of Sir Godfrey Kneller, the dominant Court and Society painter of his time.
This provincial portrait of Cornish gentry has a direct, truthful quality often missing in the work of the more sophisticated followers of Kneller who often achieved merely a blandly fashionable image devoid of personality. This lady has a real personality.

Provincial she may be, but she has faithfully emulated the high fashion of the Court in her hair style, the 'undress' robe and her plunging neckline.
This portrait is from a large Cornish estate where it was for generations...possibly since painted. Over the centuries the identity of the sitter was forgotten and the painting moved into obscurity in a little used area of the mansion.

SIZE: 33.5 x 28.25 x 2 inches including the frame.

PROVENANCE: by direct descent through a Cornish family. The Penrose Estate, Porthleven, Cornwall. (Image 3)
With Roy Precious Fine Art 2006
Collection of a Cambridge Fellow until 2014
With Roy Precious Fine Art
Private Cornish Collection from 2016

Portrait of George Lee c.1700, by Robert ...

Item Ref

Oil on canvas in a very fine carved and giltwood frame; this is the original frame and is a work of art in its own right.
Verso: old label identifying the sitter.
This is an extremely charming portrait of a wealthy young boy.
As well as his fashionable cravat, George wears fanciful garments intended to invoke the Classic tradition. This was called 'raising the sitter' and the idea was that the image would not date so quickly and become old fashioned in appearance.
George is standing in a landscape, probably the mythical Land of Arcady, or Arcadia, (a rustic paradise where beauty, love and truth reigned). This was a fashionable conceit of the time. Thus his bow and arrows seem likely to relate to Cupid, God of Love, rather than for hunting.

ROBERT BYNG (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of, and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England). Byng was especially noted for his portraits of children.
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 38 x 32 inches including the frame.
PROVENANCE: Collection of R.M. Chambers, Harley Street, London.
The Simon Carter Gallery, Woodbridge, Suffolk.
Bought by M.R. Soames, Carton, Suffolk, in July 1985 for £985.


Portrait of a Girl, c.1760: Attributed to ...

Item Ref

Oil on canvas in an 18th century gilt frame.

A fine and sensitive portrait of a girl on the cusp of womanhood; expensively and fashionably dressed, she looks out at us with a quiet confidence.
Knapton managed to invest his clients with an air of distinction without them looking aloof.

GEORGE KNAPTON (1698–1778) was an English portrait painter, he was born in Christchurch, Hampshire, the son of William Knapton Esquire of Brockenhurst, Hampshire. He studied art under Jonathan Richardson, then at the St. Martin's Lane Academy. He spent some years in Italy where he became known as a sound judge of the works of the Old Masters. An account of his visit to Herculaneum was published in the "Philosophical Transactions" of 1740 (no. 458).

Knapton was an original member of the "Society of Dilettanti" and their first portrait artist. He painted many members of the society, including the Duke of Dorset, Viscount Galway, Sir Francis Dashwood, the Earl of Holdernesse, Earl of Bessborough and Sir Bourchier Wray. Knapton resigned his position at the society in 1763.
In 1750, the then Prince of Wales had commissioned Knapton, together with George Vertue, to produce a catalogue of the pictures at Kensington Palace, Hampton Court and Windsor Castle. In 1765, he succeeded Stephen Slaughter as Surveyor and Keeper of the King's Pictures; he was also in charge of Lord Spencer's collection at Althorp, Northamptonshire.

SIZE: 29 x 24.5 framed.
PROVENANCE: Private Collection, Wiltshire.