Portrait of a Member of the Palmes ...

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Oil on canvas in gilded oakleaf frame.

The sitter, depicted with a feigned stone oval, wears a faux Roman military tunic beneath his cloak; this was called 'elevating the sitter' and was intended to give the portrait a timeless Classical quality, as was his silk drape....this despite his fashionable full wig and cravat! Lely, and others, used this motif on many occasions.

The PALMES family of Naburn Hall, York, and the cadet branches of Lindley Hall, North Yorkshire; Ashwell, Rutland; and Carcraig in Ireland, are an ancient English aristocratic family, noted for their adherence to Catholicism. The Palmes family of Naburn are directly descended from Mary Boleyn and her daughter, Catherine, who is generally believed to have been the daughter of Henry VIII of England while Mary was his mistress. Mary's sister, Anne Boleyn, afterwards became the second wife of Henry VIII and the mother of Elizabeth I of England:
The family were originally seated at Taunton Deane, Somerset, where Manfred de Palma/Palmes had by the "Gift of Milo Earl of Hereford & Constable of England, 53 Oxgangs of Land and 25 Messages in the Lordship of Taunton Dean". Manfred was "known to be living in the sixth year of the reign of King Stephen, 1140 AD".

The Palmes family of Naburn can trace its ancestry through a maternal line to Robert de Todeni (died 1088), a powerful Norman baron. Todeni's importance is reflected by the 80 estates in 11 counties that he was granted by William across England. His principal Lordship was at Belvoir where he built his home, Belvoir Castle, before establishing Belvoir Priory in 1076. Among Todeni's many estates was Naburn. In 1226, William Palmes of Taunton acquired the Lordship of Naburn through his marriage to Matilda, daughter or sister of Richard de Watterville; a direct descendant of Robert de Todeni from whom the land had passed to the Wattervilles. From then on, the estate continued to descend uninterrupted from father to son within the Palmes family until 1974, on the death of Commander George Bryan Palmes. The Palmes family were said to have been "unique in being able to boast an unbroken heritage". Edmund Burke described the family as "one of serious antiquity".

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

SIZE: 37.25 x 32.25 inches inc. frame.
PROVENANCE: By descent through the Palmes family to a branch now resident in Kent.

Portrait of Phillipa Speke, later Lady Trenchard, ...

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Oil on canvas in a gilded 19th century frame. (Frame has some small losses and a damage to the lower right).

At a glance this could be by Mary Beale; the pose and especially the feigned stone oval are characteristic of her work. However, the pose and oval were used by several artists, most notably Sir Peter Lely.
When the painting went for conservation a hardboard backing was removed and, painted on the lining, in what appears to be an 18th century hand, is an inscription naming the sitter as Miss Trenchard, painted by William Wissing in 1682.

Below are excepts from research by Adam Busiakiewicz, art historian:-

" I believe that your portrait very likely to be Philip(a) Trenchard , wife of Sir John Trenchard (1649-1695).

I believe Sir John's wife, Philip(a) daughter of George Speke esq. of Whitelackington, is the best candidate.

She was born in 1663/4 and married Sir John in 1682 - the year that this portrait was made. I think that this portrait was probably made to celebrate their marriage,

I think that there is little doubt that this is a picture by Wissing, dating to 1682.
The quality of the picture is rather good, with lots of character in the face. The blushing cheeks are well painted too. It has far more depth that a Beale. I have attached a few comparisons.
Wissing did paint decorative ovals, although far less often than Beale.
The drapery is good too and lacks the solidity you find in Beale.
The strong political connections between Sir John Trenchard and William III, who was eventually painted by Wissing many times, makes this connection rather interesting.
Of course, we have lots of portraits of William and Mary that Wissing produced from his studio with great speed. One often finds that Wissing eventually settled down into a rather stiff and formulaic manner (as many court painters often did), but, this particular portrait is filled with character and freshness."

SIR JOHN TRENCHARD (30 March 1649 – 27 April 16950 was one of Stuart England’s most accomplished and controversial aristocratic statesmen or “principal secretary of state for life”.
He belonged to an old Dorset family. He was born on 30 March 1649 at Lytchett Matravers, near Poole, to Thomas Trenchard of Wolverton (1615–1671), and his wife Hannah née Henley (d. 1691). His grandfather was Sir Thomas Trenchard of Wolverton (1582–1657), who was knighted by James I in 1613. John Trenchard entered Parliament as member for Taunton in 1679. He associated himself with those who proposed to exclude the Duke of York from the throne, and attended some of the meetings held by these malcontents. It is possible he was concerned in the Rye House Plot. In fact, he was arrested at one of the events in July 1683, but no definite evidence was brought against him so he was released.
When Monmouth landed in the west of England in June 1685, Trenchard fled from England to Groningen, Netherlands. Around 1687-1688, he was pardoned , and able to return home. Again he entered Parliament, but he took no active part in the Revolution of 1688, although he managed to secure the good will of William III. On 29 October 1689, he was knighted by the King, and made Chief Justice of Chester. In 1692, he was appointed Secretary of State.
On 10 November 1682, he had married: Philippa Speke (1664–1743), daughter of George Speke of White Lackington, Somerset.
Sir John died on 27 April 1695 at Kensington, London, and is buried at Bloxworth, Dorset.
Phillipa remarried and lived for another 50 years.

WILLIAM WISSING (1656 - 1687) After Lely's death in 1680, Wissing emerged as his most important pupil. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and the Duke of Monmouth.

SIZE; 39 x 34 inches inc.frame.
PROVENANCE: descent in a Dorset family. (It is plausible that this of portrait might have descended down with the Trenchard family, of Lychett Maltravers, Dorset)

Portrait of William Helyar c. 1745: English ...

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Oil on canvas in a carved and giltwood frame.

The sitter, William Helyar (1723 - 1784) was a member of the family that owned Coker Court and had lordship over East Coker, Somerset from 1616 to 1914. They also had an estate at Canonteign in Devon, and Sedghill in Wiltshire. The family came originally from Devon, where they seem to have been of importance as the William Helyar of that time represented Melcomb-Regis in Parliament in the reigns of Richard II and Henry IV.

William Cary sold the manor of East Coker in 1620 to William Helyar, archdeacon of Barnstaple, to be settled on the marriage of Christian or Christine, William Cary's eldest daughter, to Henry, son of William Helyar. Henry (d. 1634) was followed by his son William (d. 1697), his grandson William (d. 1742), and his great grandson William Helyar (d. 1784) who married Betty Weston. They had four daughters and six sons..William, his heir; Robert of Newton Park, Cornwall, who died in the army aged 23; Weston, who succeeded his brother at Newton Park and was a magistrate for Somerset; Edward, born 1743; Charles born 1750, an officer in the army, killed in the American War; John, in holy orders, rector of Hardington and Tollard Royal, in Wiltshire.
William was Sheriff of Somerset in 1764.

In 1812 William Helyar (d. 1820), son of the last, gave the manor to his son William (d. 1841) and he was followed in the direct male line by William (d. 1880) and Horace (d. 1893). Horace was succeeded by his daughter Dorothy who married Godfrey Walker Heneage. In 1914 the estate was put up for sale but lordship was not included.

(Coker Court is shown in Image 5)

SIZE: 35 x 30 inc. frame.
PROVENANCE:Deceased estate, Sussex.
Verso: old handwritten label; "William Helyar, eldest son of Mr. Helyar of Canonteign". Plate on the frame has the same inscription.

Portrait of Prince Rupert, mid 17th century; ...

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Oil on canvas in a magnificent carved and gilt frame. It shows Rupert at about the age of 14 when he first became a soldier. After a pattern favoured by van Honthorst who painted Rupert, at different ages, several times. His Studio and those of his Circle produced a number of versions of van Honthorst's portraits of the senior Royalists.
Difficult to date precisely, most of these copies were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand to adorn the private walls of Royalist supporters.

Rupert, Count Palatine of the Rhine, Duke of Bavaria, Duke of Cumberland, Earl of Holderness, commonly called PRINCE RUPERT OF THE RHINE, KG, PC, FRS ( 1619 – 1682), was a noted German soldier, admiral, scientist, sportsman, colonial governor and amateur artist during the 17th century. Rupert was a younger son of the German prince Frederick V, Elector Palatine and his wife Elizabeth, the eldest daughter of James I of England. Thus Rupert was the nephew of King Charles I of England, who made him Duke of Cumberland and Earl of Holderness, and the first cousin of King Charles II of England. His sister Electress Sophia was the mother of George I of Great Britain.
Prince Rupert had a varied career. He was a soldier from a young age, fighting against Spain in the Netherlands during the Eighty Years' War (1568–1648), and against the Holy Roman Emperor in Germany during the Thirty Years' War (1618–48). Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War (1642–46), becoming the archetypal Cavalier of the war and ultimately the senior Royalist general. He surrendered after the fall of Bristol and was banished from England. He served under Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean. Following the Restoration, Rupert returned to England, becoming a senior British naval commander during the Second and Third Anglo-Dutch wars, engaging in scientific invention, art, and serving as the first Governor of the Hudson's Bay Company. Rupert died in England in 1682, aged 62.
Rupert is considered to have been a quick-thinking and energetic cavalry general, but ultimately undermined by his youthful impatience in dealing with his peers during the Civil War. In the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his later years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navy's doctrine and development. As a colonial governor, Rupert shaped the political geography of modern Canada—Rupert's Land was named in his honour. Rupert's varied and numerous scientific and administrative interests combined with his considerable artistic skills made him one of the more colourful individuals of the Restoration period.

GERRIT VAN HONTHORST (1592 – 1656) was a Dutch Golden Age painter; born in Utrecht,
He built a considerable reputation both in the Dutch Republic and abroad. Queen Elizabeth of Bohemia, mother of Prince Rupert, sister of Charles I of England, then in exile in the Netherlands, commissioned Honthorst as a painter. Through her he became known to King Charles, who invited him to England in 1628.
After his return to Utrecht, Honthorst retained the patronage of the English monarch, painting for him, in 1631, a large picture of the king and queen of Bohemia and all their children. His popularity in the Netherlands was such that he opened a second studio in the Hague, where he painted portraits of members of the court. These were large studios, where the work of his assistants included making replicas of Honthorst's royal portraits.
SIZE: 32.5 x 28.5 inches including frame.
PROVENANCE: Wiltshire Private Collection.

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 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 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 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 Jean Davidson, Mrs. Robertson, 18th ...

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Oil on canvas in a distressed 19th century frame.
This is a pleasing 18th century portrait of an attractive sitter with Jacobite connections.

JEAN DAVIDSON married Andrew Robertson, owner of the Scottish estate of Foveran. Jean, Countess of Dunfermline was her godmother.
Andrew's brother William was in the bodyguard of Bonnie Prince Charlie at the Battle of Culloden. After the defeat to the Jacobite forces he fled to Sweden where he made a fortune. After some years he returned and bought an estate in Scotland.
His cousin James, 5th Earl of Southesk, had been attainted for the Jacobite Rising in 1715 and the earldom was not restored until 1855.
Andrew, Jean's husband, quarrelled with their eldest son William and he left the estate of Foveran to William's brother. Alexander, William's son, as his father did not inherit the estate went to live in China where he made a fortune. Returning home he spent it all so he returned to China where he made another(moderate) fortune.
ALLAN RAMSAY 1713–1784.
Ramsay was born in Edinburgh; he studied in London at St Martin's Lane Academy and at Hans Hysing's studio, before going to Italy to study. 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. 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:34.25 x 29 inches inc. frame.
PROVENANCE: Private Collection, Dorset.

Portrait of Catharina Margaretha Beck c.1695; Attributed ...

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Small oil on canvas in period carved and giltwood frame.
The young sitter, Catharina Margaretha Beck, by the standards of the time of marriageable age, is depicted in the mythical realm of Arcady, a fashionable conceit of the time. Arcady, or Arcadia, was a mythological land, home of the god Pan, where love, innocence, and peace reigned.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain. The fountain makes an allusion to her potential as a wife and mother, recalling Proverbs, chapter 5, verse 18 "Let thy fountain be blessed, and rejoice in the wife of thy youth".
This is a very high quality portrait with symbolism typical of the Baroque period.

CATHERINA MARGARETHA BECK (1680 -1737) was born in Middelburg, Walcheren, where her father was Burgomaster. She became the second wife of Baron Guisbert van Hogendorp van Hofwegen in 1696. Thus she married into an old and influential family of the Dutch nobility. The marriage produced nine children of whom three died in the year of their birth. Catherina died in South Gravenage in 1737, aged 57.

JOHANNES (Jan) VAN HAENSBERGEN (1642–1705) was a Dutch Golden Age painter. He was registered in the Utrecht Guild of St. Luke in 1668 and in 1669 he was registered in the Confrerie Pictura in The Hague, where he married Johanna van Heusden and worked on portraits for the elite there. According to Houbraken he was born in Utrecht. He was a student of Cornelius van Poelenburgh, and though he was quite successful in imitating his master's style of landscape painting, he switched to portraits since he could make a comfortable living making "flattering ladies portraits that made their skin look whiter". (Pale skin was the sign of quality at the time, only peasants who worked outside for a living had tanned skin). His portrait style shows the influence of Caspar Netscher.

SIZE:28 x 24.25 x 2.5 inches including the frame.
PROVENANCE: *Bonhams, London, Old Master Paintings, April 2015.
*The collection of a lady, Southern England.
Verso: an old Christie's stencil, and a handwritten label, dated 1930, with inventory numbers.

Portrait of a Gentleman c.1720; Attributed to ...

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Oil on canvas in the original carved and giltwood frame.

An insightful portrait of a fashionable young man; it is typical of Aikman that we have a real sense of the individual, even though the sitter's name is lost.
Verso, an old, probably Victorian, copperplate inscription incorrectly identifies the sitter as James Stuart, The Old Pretender.

WILLIAM AIKMAN (1682-1731) was a Scottish portrait painter, only son of the Laird of Cairney, Forfar where he was born. He developed a passion for painting and studied under Medina, sold the family estate and went to Rome in 1707 for three years.
He settled in Edinburgh in 1712 and was an excellent taker of likenesses, the best Edinburgh portraitist of his time, painting most of the nobility, gentry and lawyers.
In 1723, encouraged by the Duke of Argyll, he moved to London where he was not only patronised by Scots, but became well known in literary circles and the friend of Pope, Gray, Thomson and others. He is buried in Grey Friars Church, Edinburgh.

This painting is a good example of Aikman's accomplished mature style when he was emulating Sir Godfrey Kneller, Principal Painter to the King, in the hope of succeeding him.

SIZE: 37.5 x 32.5 inches framed.
PROVENANCE: An old Private Collection, Edinburgh, Scotland.

Portrait of a Young Gentleman c.1660; Attributed ...

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Oil on canvas now in a 19th century gilt frame in 18th century style.

The handsome young sitter wears his own hair; the periwig was just coming into fashion and not all the gentry wore them at first. His cravat looks to be of Bruges lace .. very costly, and a la mode. He also wears, wrapped around him, an Indian silk tea gown; these were also highly fashionable and hugely expensive. So much so that, for his portrait, Samuel Pepys hired one, as he couldn't afford to buy.
The young gentleman stands in the classic and much favoured elegant pose, his elbow rests on the plinth of a huge column; this was not just an artistic conceit, but symbolic. The column represents the sitter in that he is the pillar of his House or family; clearly he was the one who was, or soon to become, the head of the family.

JOHN GREENHILL (c.1642-1676), was an English born portrait painter whose initial training is unknown but who rivalled the leading London artists of the seventeenth century.
The Restoration of King Charles II (1630-85) stimulated an upheaval within the cultural sphere, in particular artistic patronage. Portrait painters such as Sir Peter Lely quickly found favour amongst the highest ranks of society, and as a result many continental artists migrated to England in a bid to win the patronage of the monarch, prosperous courtiers and powerful statesmen. Greenhill was amongst very few English artists able to compete with the popularity and skill of foreign artists and just one month before his premature death, he was still considered one of the most talented portrait painters of the age.
Of all the artists to emerge from the studio of Sir Peter Lely (1618-80) – the dominant artist in England in the late seventeenth century – John Greenhill was, as George Vertue noted, “the most excellent.” He is known to have joined Lely’s studio by 1662, but seems to have left fairly soon afterwards to establish his own practice. Vertue claimed that Lely was jealous of his pupil’s ability. He was commissioned to paint a number of leading figures of the court, including Anne, Duchess of York, and even the King. However, his dissolute lifestyle led to the end of promising career – he died barely into his thirties, after falling into a flooded gutter, drunk, in Long Acre, leaving a wife and young family behind.
SIZE:46 x 39 x 3.25 inches including the frame.
PROVENANCE: Private Collection, Surrey.