Portrait of the Reverend William Jones of ...

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Oil on canvas in the original gilded frame.

A powerful and penetrating portrait of the Reverend William Jones of Nayland, Essex. (1726-1800). He was an important churchman who became the inspiration of the High Church Movement of the early 19th century. He was also a prolific and entertaining writer and composer.
The eighteenth century produced a vintage crop of eccentrics who were also men of letters. Several of these were clerics. An age that can boast Swift, Pope, Walpole and Doctor Johnson takes a lot of beating, but William Jones of Nayland fits neatly, if more modestly, into the pattern.

Jones was born at Lowick, Northamptonshire, on the 30th July 1726, to Morgan Jones and his wife, Sarah Lettin. He was a descendant of Colonel John Jones, the regicide, and throughout his life paid penance for the crime of his ancestor, spending each anniversary of King Charles' execution on January 30th in fasting and prayer. After an education which included Charterhouse and University College, Oxford, where he was awarded his B.A. in 1749, Jones was ordained deacon in the same year by the Bishop of Peterborough. Two years later he became a priest. As well as being a Theologian and Latin scholar, Jones was an accomplished musician.

In 1754 he was given the curacy of Wadenhoe in Northants, where he married Elizabeth Bridges, his vicar’s daughter. During the ensuing twenty years he held two livings in Kent before returning to his native county and the vicarage of Paston.
Authorities differ as to the date of Jones’ appointment to the perpetual curacy of Nayland. The Dictionary of National Biography plumps for 1777, but Grove and other reference books prefer the previous year. Jones’ own biographer, the Reverend W. Stevens, who was also a close friend, gives 1776 as the date, which may be said to settle the matter.

While at Nayland he composed works for the organ which he had caused to be built by Samuel Green of Isleworth in 1787, to encourage the choir. The instrument became known as the Jones Organ and he became known as Jones of Nayland.
W.J. as he was also affectionately known to his friends, died on the 6th January 1800. He is buried in the vault he prepared for his family beneath the Vestry, close to that of Thomas and Martha (Patty) Smith, Constable’s aunt, which was constructed in 1783.

SIR WILLIAM BEECHEY RA FSA (1753-1839). He was born in Burford, Oxfordshire and entered the Royal Academy Schools in 1774.
After some years in London he moved to Norwich, then a very important city, where he enjoyed a good practice painting conversation pieces and life size portraits from c.1783. He returned to London in 1787 and worked from Brook Street; he became extremely successful and moved to Hill Street, Berkeley Square, then to Hanover Square and ultimately to Harley Street.
He was elected an Associate of the Royal Academy in 1793, then RA in 1798 and was knighted in 1798 (the first artist to receive this honour since Reynolds).
Beechey was appointed Portrait Painter to Queen Charlotte in 1793 and by 1814 Portrait Painter to Her Majesty and to HRH the Duke of Gloucester.

SIZE: 42 x 34 inches including the frame.
PROVENANCE: 50 years in an Essex private collection.


Pair of Portraits of Sir Neville and ...

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A pair of oils on canvas in good carved and giltwood frames. These were probably the marriage portraits of Sir Neville and his first wife Dorothea.
Sir Nevill(e) Catlin, sometimes written Catlyn or Catelyn or Catline, was an English landowner and politician from a Norfolk family long active in local and national affairs. Baptised on 3 March 1634, he was the eldest surviving son of landowner and politician Richard Catlin (1583 – 1662) of Kirby Cane and his second wife Dorothy (1605 – 1672), daughter of landowner and politician Sir Henry Nevill of Billingbear and his wife Anne, daughter of Henry Killigrew. His father, who supported the King in the English Civil War, had been disabled from sitting in Parliament in 1644 and suffered sequestration of his estate, but was discharged without fine in 1647. His older half-brother Thomas Catlin died fighting for the Royalist side in the Second Battle of Newbury in 1644 . In 1650, he entered King's College, Cambridge.

In 1658 in London he married his first wife Dorothea, daughter of the judge and politician Sir Thomas Bedingfield and his wife Elizabeth. After her early death he married Elizabeth, daughter of Robert Houghton of Ranworth and his wife Elizabeth, daughter of Sir John Corbet, 1st Baronet, of Sprowston, but she died in 1681. His third marriage was to Mary, sister of Sir Charles Blois, 1st Baronet and daughter of Sir William Blois of Grundisburgh and his first wife Martha. In the first two marriages there were three sons and a daughter, but none lived long.

At the Restoration in 1660 he joined the Norfolk militia, initially as a captain of cavalry and rising later to major. In 1661 he was appointed a commissioner for tax assessment for both Norfolk and Suffolk and in 1662 when he inherited the estates of Kirby Cane and Wingfield Castle on the death of his father, he was knighted. In 1668 he was appointed Justice of the Peace for Norfolk and in 1680 for Suffolk as well, adding the rank of Deputy Lieutenant for Norfolk in 1676 and Suffolk in 1680.

In the 1685 general election he was unopposed as one of the two members for the city of Norwich and was listed among the opposition to the supporters of the Catholic King, James II. Unsympathetic to the political ambitions of the Catholic party, he opposed the repeal of the penal laws against Catholics and dissenters but was not against some relaxation. As an opponent of the King's absolute rule, he was stripped of his local offices, and when these were restored in October 1688 he refused to sit next to Catholic office holders. In the Convention Parliament of 1689 he was fairly active, being appointed to 15 committees.

He did not stand in the 1690 general election, retiring from national politics. Dying in July 1702, at Wingfield Castle, he was buried at Kirby Cane and succeeded by his younger brother Richard Catlin V.

JOHN HAYLS (1600-1679) also Hailes, was an English Baroque-era portrait painter, principally known for his portrait of Samuel Pepys. Hayls was a contemporary and rival of Sir Peter Lely and Samuel Cooper.
Pepys was so pleased with his wife's portrait, that he commissioned a portrait of himself and also persuaded his father Thomas Pepys to sit for the artist. Pepys also mentioned that Hayls painted the actor Joseph Harris as Henry V.
Hayls also painted portraits of Colonel John Russell (third son of Francis Russell, 4th Earl of Bedford), Lady Diana Russell, and the poet Thomas Flatman. He was known as a good copyist of the works of Van Dyck. He lived in Southampton Street, Bloomsbury, London, for some years, but then moved to a house in Long Acre, where he died suddenly in 1679.

SIZE: 35.5 x 30.5 inches inc. frame.
PROVENANCE: Wingfield Castle, Sussex, then by descent to the Lords Berners of Ashwellthorpe Hall, thence to Faringdon House. (see last image).

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

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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 Lady 1631, by Jan ...

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Oil on marouflaged panel in good quality 18th century carved and giltwood frame.
Signed with initials and dated 'Anno. 1631. JVR" upper right.

A superb portrait of a gently smiling young woman; she wears a pearl necklace, the essential accessory of the period, but modestly conceals it beneath her fine muslin. No such modesty however, for the magnificent jewellery she wears across her bosom.
Her black clothing, fashionably slashed, is of the finest quality, beautifully decorated and contrasting with the exquisite white lace spread across her shoulders. In the work of great portraitists black is never dull, its pictorial potential is fully utilised. 
Black is an ideal background against which gold can stand out to dramatic effect and to contrast with the crisp white linen and lace. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of the 17th century Dutch portrait.

The theory has been put forward that the sitter is Amalia van Solms, wife of the Dutch Stadtholder (and grandmother of England's William III), who was painted many times by many different artists.
However, we consider this unlikely, as does Fred Meijer, curator at RKD, Netherlands Institute for Art History, at The Hague. 'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. Otherwise this appears to be a fully characteristic work by the artist.'
Regardless of the identity of the sitter this is a superb and sensitive portrait by a famous artist from the Netherland's Golden Age of painting.

(c. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague. He was working there for the Stadholder's Court, for local patricians and for the upper classes of other cities in the Southern part of Holland and in Zeeland. 
His sitters are often depicted with rich costumes in the latest fashion, intentionally alluding to their wealth and status.
His earliest signed work is the well-known tondo portrait of the young Hugo Grotius, dated 1599 (Fondation Custodia, Paris). 
As early as 1604 Karel van Mander mentioned the artist as one of the most competent portraitists of his time. A large number of signed and dated works from the next decades - especially from the year 1611 - are known, including several group portraits of the Hague civic guard. 
The last dated portraits are from 1641, leading to the conclusion that the painter produced little, if anything, in the last fifteen years of his life. The general style of his work is closely related to that of the Delft portraitist Michiel Jansz. van Mierevelt (1567-1641), but is generally less dry and often more flattering than the latter’s.
SIZE: 28 x 24.25 inches panel size.
34.5 x 31.5 inches inc. frame.
*Collection of Alfred Morrisson M.P. of Fonthill House, Tisbury, Wiltshire. (see image 10). Alfred Morrisson (1821-1887) was an outstanding collector of fine and rare items.
*Latterly in the Private Collection of a Lady.
VERSO: two Victorian printed labels bearing much information of "M & B Bartington; Est. 1836. No. 58 Wardour Street, Soho" framer and restorer.
Victorian handwritten label "Alfred Morrisson Esq. No. 106. Three quarter picture of Dutch Lady by Jan van Ravesteyn. 20/12/87".

Portrait of Mary Dodding 1677, by John ...

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Oil on canvas in a gilt reproduction frame of correct type.
This is a very high quality portrait typical of Wright's fine and sensitive work, with the haunting sense of character that Wright conveys. He would appear to have been far more interested in conveying intelligence than rivals such as Lely, and here, as always, we sense that the sitter is of an alert and enquiring mind.
Inscribed upper left "Mary, Daughter of George Dodding Esq. A.D. 1677."
This is almost certainly a portrait painted to mark Mary's marriage to Thomas Preston.

The surname Dodding was first found in Somerset at Doddington, which predates the Norman Conquest dating back to c. 975 when it was first listed as Dundingtune. By the time of the Domesday Book in 1086, the village was known as Dodington.
There are other places similarly named in the Domesday Book but this is the only pre-Conquest village making it of Saxon origin. In early days, some of the family were found much further north in Cumberland at Kirk-Oswald where the estates of Kirk-Oswald were granted by Elizabeth I to the Dodding family.

MARY DODDING was the daughter of George Dodding Esq. of Conishead Priory; he was the son of Colonel George Dodding, (who had raised and commanded one of the Lancashire Regiments of Foot for Parliament during the Civil War, mainly recruited around Cartmel and Grange-over-Sands)
Colonel Dodding was the son of Miles Dodding Esq, of Conishead Priory, Lancashire.

Mary married Thomas Preston M.P. for Lancaster in, it is thought, 1677. Thomas was born in 1646 and died in 1697. He is buried at Cartmel, Cumbria. Mary's birth and death dates are not known, but the marriage was brief as Thomas married again and had two children from that union. There were no offspring from his earlier marriage, so it is very probable that Mary died in childbirth as was very common.

JOHN MICHAEL WRIGHT (May 1617 – July 1694) was a portrait painter in the Baroque style. Described variously as English and Scottish, Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655. He took up permanent residence in England from 1656, and served as Court Painter before and after the English Restoration. He was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political manoeuvres of the era.
Wright is currently rated as one of the leading indigenous British painters of his generation, largely for the distinctive realism in his portraiture. Perhaps due to the unusually cosmopolitan nature of his experience, he was favoured by patrons at the highest level of society in an age in which foreign artists were usually preferred. Wright's paintings of royalty, aristocracy and gentry are included amongst the collections of many leading galleries today.

SIZE: 35.25 x 30.25 inc. frame.
PROVENANCE: latterly in a private collection in Sidmouth, Devon.


Portrait of a Gentleman and his Greyhound ...

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Small scale oil on canvas in the original carved and giltwood frame. Signed with initials and dated '58' lower right.

EDWARD ALCOCK (fl. 1745–1778) was an English painter of portraits and miniatures.
Alcock lived in a variety of towns around England and was described by the poet William Shenstone as "the most volatile of all creatures that have not wings". He is first recorded living with his mother in 1745 in Liverpool, where he went into partnership with a carver-and-gilder in 1747. He was recorded in Bath in 1757 and was living in Birmingham between 1759 and 1760, where he painted a full-length portrait of Shenstone now in the National Portrait Gallery. He was described as "Mr Alcock of Bristol" in 1769, and by 1778 was living in London and exhibiting at the Royal Academy and Free Society of Artists, while retaining strong links with Birmingham. Shenstone described him as "an excellent miniature painter" and the poet Chatterton penned fulsome verses in his praise in 1769. Alcock's small full lengths are very much in the style of Devis.

SIZE: 16.75 x 11 inches canvas.
22 x 16.5 inches framed.
PROVENANCE: Collection of the late Peter Walwyn MBE. (1933-2017)
Peter Walwyn MBE, a giant of the turf, will forever be associated with the great champion Grundy. Walwyn, who was based for the majority of his training career at Seven Barrows in Lambourn, was champion trainer in Britain on two occasions in 1974 and 1975, the same year Grundy enjoyed his splendid campaign that saw the colt win the G1 2000 Guineas, Epsom Derby, Irish Derby and King George VI and Queen Elizabeth S. That King George win, when he prevailed after a terrific tussle with Bustino, has been ranked as one of the most iconic races of the century. Walwyn retired from training in 1999 after saddling 1,900 winners and was appointed an honorary member of the Jockey Club. He was also awarded an MBE by the Queen in 2012 for his services to racing.


Portrait of a Member of the Haworth ...

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Oil on canvas in a good period carved and giltwood frame.

Thought to be a member of the Haworth family of Yorkshire, the young sitter is depicted in a rakish and stylish pose, his blue garments extremely fashionable in colour and cut.
The artist, as yet unidentified, clearly had great painterly pleasure in the use of the medium. The brush strokes have a real bravura quality which brings the material to life. Strongly influenced by Jonathan Richardson, the artist is not slavish in his style, but brings to it his own powerful presence.

The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.
The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths. Like the aristocracy these wealthy merchants married within their peers, always with an eye on increasing their wealth and power.

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, 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: 43.5 x 35 inches inc. frame.
PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.

Portrait of John Robinson of Denston Hall, ...

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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 a Gentleman c.1690; Attributed to ...

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Oil on canvas in a good quality 19th century frame. Gilt label on the frame: "VAN BOONEN. From the collection of Quarante Ratazzi"
An excellent portrait of a young gentleman, typical of van Boonen's style and capturing much of the character of the sitter.
ANOLD VAN BOONEN (16 December 1669 – 2 October 1729) was a Dutch portrait painter. He was born at Dordrecht, in the Dutch Republic in 1669. He was a pupil first of Arnold Verbuis, and then of Godefried Schalken. He painted genre pictures in the style of the latter, representing subjects by candlelight, but met with such encouragement in portrait painting that he devoted himself almost wholly to that. His style was well adapted to succeed in it. An excellent colourist and highly skilled, capable of capturing a good likeness, he was soon distinguished as one of the most able artists of his day. He painted a great number of portraits of the most distinguished people of his time, among whom were Peter the Great, the Elector of Mentz, the Landgrave of Hesse-Darmstadt, the Prince and Princess of Orange, the great Duke of Marlborough, and several others. He painted some large pictures for the halls of the different companies at Amsterdam and Dordrecht. He died in 1729.
The Dresden Gallery has seven works by him, and the 'Woman Singing' in the Lille Gallery is also attributed to him. His son, Kasper van Boonen, also painted portraits, but in no way proved himself equal to his father.
SIZE: 27.75 x 24.75 inches including the frame.
PROVENANCE: Collection of Quarante Ratazzi.
Cheshire Private Collection.
Verso: Old paper collection number '98' and old Christie's stencil.


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 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 Esther Milnes, c.1745, by Thomas ...

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Oil on canvas in the original fine period carved and giltwood frame. The painting is in excellent original condition.
Lower left: "Mrs. Robt Milnes. Obt. 1799"

This is a portrait of great quality. For some years it was thought to be by Allan Ramsay, who was Hudson's main competitor at this time.
Hudson's portraits on this model were the dominant London fashion in the 1740s and early 1750s, much emulated by Ramsay. Variants on this composition with the bust depicted side-on, three-quarter profile and Van Dyck dress are encountered frequently among Hudson's and Ramsay's followers, and the blue and oyster costume is probably the work of their shared drapery painter Joseph Van Aken.

HOMAS 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.
Between the departure of Jean-Baptiste Van Loo in 1742 and the growing supremacy of Sir Joshua Reynolds in the later 1750s, Thomas Hudson was the principal portraitist to London society, who appreciated his smooth, elegant manner and his shimmering depiction of elaborate costume. Hudson's liberal employment of assistants - including the young Reynolds — and specialist drapery painters the Van Akens - is well known.

Hudson's work combines the high-keyed colours of the Rococo with poses derived from such artists as van Dyck, Kneller and his own teacher and father-in-law, Jonathan Richardson. He painted at least 400 portraits, about 80 of which were engraved. Among his many pupils were Joseph Wright of Derby, John Hamilton Mortimer and Joshua Reynolds. Hudson was a member of the group of artists including Hogarth, Allan Ramsay, Francis Hayman and the sculptor John Michael Rysbrack, who met at Old Slaughter's Coffee House in the mid-1740s and who promoted Thomas Coram's Foundling Hospital, of which they were governors, as the first public exhibiting space for artists in London.

ESTHER SHORE, Mrs ROBERT MILNES, was born in Sheffield, Yorkshire, in 1723. She married Robert Milnes, who had first married Joyce Slater, in 1766. He died in 1771. Esther died in 1799.

SIZE: 37 x 31.5 inches framed.
PROVENANCE: Herefordshire Private Collection for about the last 50 years.