Portrait of the Hon. Henry Arthur Cole ...

Item Ref

Oil on panel in the original frame.
A small scale portrait of the Hon. HENRY ARTHUR COLE (1809-1890), half-length, standing beside a classical column with his arm resting on a plinth draped in red cloth, his gloves clasped in one hand and a fur collared cloak draped over one shoulder. A sensitive and insightful portrait of a sensitive looking young man, barely out of boyhood.
The sitter was the son of John Willoughby Cole, 2nd Earl of Enniskillen and Lady Charlotte Paget. He held the office of Member of Parliament for Enniskillen between 1844 and 1851 and Fermanagh between 1855 and 1880. He gained the rank of Lieutenant-Colonel in the 7th Hussars and in the 12th Foot.

WILLIAM ROBINSON (1799-1839) was born in Leeds, he studied under the landscape painter Rhodes there. He moved to London where Sir Thomas Lawrence took him as a pupil, and he continued his studies at the Royal Academy schools under Fuseli.
He returned to Leeds about 1823-4 where he enjoyed a successful portrait practice.
Robinson exhibited mostly portraits in the Lawrence manner .. 19 at the Royal Academy, 3 at the Society of British Artists from 1822-29. His work attracted the patronage of the Earl de Grey. Among his exhibited works were 'The Rt Hon Lord Grantham', 'The Earl of Enniskillen' and 'The Duke of Wellington'. He died in Leeds in August 1839, aged 39.

SIZE: 19 x 17 inches including the frame.
By descent to the sitter's niece, Lady Jane Evelyn Cole (1855-1941),
By whom given in 1919 to her nephew Lowry Arthur Casamaijor Cole (1878-1955)
Thence by descent to his son Reverend Arthur Lowry Frederick Cole (b.1911)
By whom bequeathed to the previous owner.

By family tradition this portrait believed to have been copied by the artist from the prime original still at Florence Court, Enniskillen, County Fermanagh.


Portrait of Ferdinando de' Medici as a ...

Item Ref

Oil on canvas in the original frame.
This is a very fine copy of the original in the Pitti Palace, Florence. It is in excellent condition and unlined.
Am inscription verso (Image 4) declares that it was painted by Socrate Butazzi in 1925, and that the finished painting was inspected, officially stamped and signed off by a Palace official as being an accurate and good copy.
It will be noted that in 1925 the painting was called 'Portrait of an Unknown Young Boy'. Later research proved it to be a portrait of Ferdinando de' Medici painted c.1667, and it has been listed as such for decades.

FERDINAND DE' MEDICI, GRAND PRINCE OF TUSCANY (1610-1681) later Grand Duke of Tuscany from 1621-70 and the son of Duke Cosimo II de’ Medici and Maria Maddalena of Austria. The Medici were a powerful and influential Florentine family who became rulers of Tuscany from the sixteenth to eighteenth centuries. Three Popes came from the family along with a line of important rulers, most notably Lorenzo the Magnificent (1449-1492), patron of some of the greatest artists of the Renaissance, including Sandro Botticelli and Michelangelo. Like his father, Ferdinando was a patron of Galileo Galilei, one of the most important astronomers and polymaths of the Renaissance. Galileo named his newly-discovered moons of Jupiter (the ‘Medicea Sidera’) in honour of the Medici family. Ferdinando married Vittoria Della Rovere, with whom he had two children, including Cosimo III, his eventual successor.

JUSTUS SUSTERMANS a Flemish portrait painter working in Italy, was born Sep. 28, 1597, died 1681. Sustermans was court painter for the Medici family of Florence for many decades.

SOCRATE BUTAZZI (19th/20th c) )was a well known and highly talented copyist of Renaissance portraits.

SIZE: 36 x 30.25 inches including the frame.

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 John Shute Barrington, 1st Viscount ...

Item Ref

Oil on canvas in carved and giltwood period frame, traditionally said to be JOHN SHUTE BARRINGTON, 1st Viscount Barrington of Ardglass, who was born in 1678 at Theobalds, Hertfordshire, England. He was the son of Benjamin Shute and Elizabeth Caryl. He married Anne Daines, daughter of Sir William Daines, on 23 June 1713 at St. Benet's, Paul's Wharf, London, England.
He died on 14 December 1734 at Becket, Berkshire, England and was buried on 27 December 1734 at Shrivenham, Berkshire, England.(See Image 8 for the memorial).

He was given the name of John Shute at birth and was educated at Utrecht, The Netherlands. He was admitted to the Inner Temple entitled to practice as a Barrister-at-Law and held the office of Commissioner of Customs between 1708 and 1711.
In 1710 he also inherited the estate of Tofts in Little Baddow, Essex, from Francis Barrington, married to his cousin; in the same year he inherited the estate of Becket, and considerable property in Berkshire, from a John Wildman.

Barrington held the office of Member of Parliament (Whig) for Berwick-upon-Tweed between 1715 and 1723. In 1716 his name was legally changed to John Barrington by Act of Parliament. He held the office of Master of the Rolls [Ireland] between 5 July 1717 and 10 December 1731. He was created 1st Viscount Barrington of Ardglass, Co. Down [Ireland] on 1 July 1720 and was created 1st Baron Barrington of Newcastle, Co. Limerick [Ireland] on 1 July 1720. On 15 February 1722/23 he was expelled from Parliament for promoting "an infamous fraudulent project," the lottery of Harbourg....one of the bubble speculations of the time...the punishment was considered too severe and was thought to be due to the personal malice of Robert Walpole, the Prime Minister.
Swift described Barrington as "the shrewdest head in England."His last will was dated 2 March 1726. He lived at Becket, Berkshire, England. He has an extensive biographical entry in the Dictionary of National Biography.

Children of John Barrington, 1st Viscount Barrington of Ardglass and Anne Daines:-
1.William Wildman Barrington-Shute, 2nd Viscount Barrington of Ardglass b. 15 Jan 1717, d. 1 Feb 1793
2.Maj.-Gen. Hon. John Barrington b. c 1722, d. 2 Apr 1764
3. Hon. Anne Barrington b. c 1725, d. Sep 1780
4.Hon. Daines Barrington b. 1727, d. 1800
5.Admiral Hon. Samuel Barrington b. 1729, d. 1800
6.Rt. Rev. Hon. Shute Barrington b. 26 May 1734, d. 25 Mar 1826.

Above information from "The Peerage" which illustrates this portrait in its entry on Viscount Barrington.

SIZE: 48.5 x 40 inches inc. frame.
PROVENANCE: with M. Ford Creech Antiques and Fine Art, Memphis, Tennessee, USA.
Private Collection.


Self Portrait, c.1800, by John Opie RA ...

Item Ref

A recently rediscovered self-portrait by John Opie RA, dubbed during his lifetime as ‘The Cornish Wonder’.
Opie was one of the most prolific self-portraitists of late eighteenth and early nineteenth century Britain. Ada Earland, who published a biography and list of works by the artist in 1911, references no fewer than fifty-four self-portraits of the artist. His incessant self-examination in paint ranks him alongside artists such as Rembrandt in this regard, to whom around eighty or so have been attributed. As Earland’s references make clear, many of Opie’s remain unaccounted for and are likely preserved in private collections across the globe.
Created at the turn of the century, this image shows the artist’s likeness looming out of a unfathomable darkness. The half-turned head with its dark hair and sideburn is set against the bright white necktie which suggests the shape of the sitter’s body and jacket. The extraordinary presence of the sitter is aided by the three-dimensionality and volume of the skull, achieved by the gradual build-up of thick paint noted in the forehead. The spotlight that picks out the artist’s boldly painted head particularly 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.’ These effects were often aided with the use of bitumen, undoubtedly influenced by the experiments of Sir Joshua, and which is evident in the shadows towards the top right of this painting. The brooding spirit of early-Romanticism, through the lens of a deep knowledge of the Old Masters, is what is particularly felt in this work.
This image was created when Opie was around the age of forty and successfully placed in the London art world. 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.
The painting offered here derives from a type Earland published alongside the frontispiece of her book on the artist. This version, which contains the basic elements of this picture, was recorded in the possession of the Opie collector R. Hall McCormick of Chicago. This prototype must have been a significant one, as a printed version of it also appears in the Lectures on Painting published posthumously in 1809. This collected edition of Opie’s lectures presented at the Royal Academy from 1805 represented a high point in respectability for the painter the reason for which it was surely chosen. Although Opie did paint himself in the guise of a painter with brushes in hand, this particular image calls to mind his striking ability in capturing both character and a living presence.
Opie’s remains were interred in the crypt of London’s St. Pauls’s Cathedral after his death at the age of 45 in 1807. This location, in the crypt next to Reynolds, demonstrated the high regard felt for the painter amongst his contemporaries.
SIZE: 31 x 26 ½ inches in what seems to be the original frame.
PROVENANCE: UK private collection

Portrait of a Gentleman and his Greyhound ...

Item Ref

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 Boy in Red c.1720: ...

Item Ref

Oil on canvas in a slim modern frame.

A pleasing early 18th century portrait of a good-looking youth, really little more than a boy, painted by an unknown artist who was influenced by the style of Verelst; probably one of the many intinerant painters who travelled the country painting the gentry and prosperous mercantile classes.
However, this portrait is well above average for its type, the face is sensitively painted and with a real feeling of the nature of the sitter and the detail of the sitter's expensive lace is depicted with great care. All in all a very attractive early Georgian portrait.

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, Harman, another Pieter, John, Maria, Simon and Willem.

SIZE: 48.5 x 36 inches inc. frame.
PROVENANCE: A Private Collection of a Leicestershire family for over 70 years,the painting cleaned and relined whilst in their possession.

Portrait of Two Young Girls and Their ...

Item Ref

Oil on canvas, bears signature C W Peale and dated mid left.

The two children pet their dog whilst in the background is a bust of the goddess Flora; Flora is the Roman Goddess of flowering plants, especially those that bear fruit. Spring, of course, is her season with its attendant attributes of future fertility and blossoming...all appropriate for two children in the springtime of their lives.

Charles Willson Peale (April 15, 1741 – February 22, 1827) was an American painter, soldier, scientist, inventor, politician and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, and for establishing one of the first museums in the United States. Peale studied for a time under John Hesselius and John Singleton Copley. John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland. There, he taught painting to his younger brother, James Peale, who in time also became a noted artist.

SIZE: canvas 24.75 x 30.10 inches.
framed:31 x 36.5 inches.
PROVENANCE: Stair Galleries (Auctioneers), New York
where bought by Mallett of London and New York in 2008.

Portrait of Ernst Casimir, Count of Nassau-Dietz, ...

Item Ref

Oil on panel.

This 17th century portrait is based on the main version by Wybrand de Geest in the Rijksmuseum, which is 78 x 51 inches; this superb painting is a rather more manageable 24 x 17 inches.

ERNST CASIMIR I (22 December 1573 – 2 June 1632) was a Count of Nassau-Dietz and Stadtholder of Friesland, Groningen and Drenthe. He was the 11th child of John VI, Count of Nassau-Dillenburg, and Countess Elisabeth of Leuchtenberg. After the death of his father, his counties Nassau-Dillenburg, Nassau-Siegen, Nassau-Dietz, and Vianden were divided among his five living sons. Ernest Casimir followed him as Count of Nassau-Dietz. In 1631, he inherited the small county of Spiegelberg near Lauenstein.

Ernest Casimir was primarily known as an outstanding military leader during the Eighty Years' War. He served under Maurice of Nassau, Prince of Orange, in the siege of the cities of Steenwijk and Oldenzaal, and Frederick Henry, Prince of Orange, during the Siege of Groenlo and the Siege of 's-Hertogenbosch. As Stadtholder of Groningen, he founded the Nieuweschans fortress in 1628. Although he owned little in Friesland, he was popular there, and people granted his heir the right to rule after his death.

He was killed by a bullet at the siege of Roermond while he was inspecting the trenches in June 1632. His son, Henry Casimir I, succeeded him as count of Nassau-Dietz and as Stadtholder of Friesland, Groningen and Drenthe.

WYBRAND SIMONSZ. DE GEEST (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland. He was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle".

De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh, the wife of Rembrandt. In 1634, just before his own marriage, Rembrandt visited De Geest's studio. In 1636 the Frenchman Charles Ogier, secretary to Cardinal Richelieu visited De Geest, to view his large collection of curiosities and coins.
De Geest was the most important portrait painter of Friesland and painted numerous portraits of the well-to-do citizens of his day, many of which survive in the Fries Museum. Perhaps the most intimate portraits he painted were those of his direct family. De Geest influenced Jacob Adriaensz Backer, and his students were Jan Jansz. de Stomme, and Jacob Potma. His sons Julius and Frank also became painters.

SIZE: 29 x 22.5 inches including the frame.
PROVENANCE: English Private Collection for many generations.


Portrait of a gentleman c.1675: Attributed to ...

Item Ref

Oil on canvas in a later frame.

The sitter is depicted looking directly at the viewer; he has an intelligent and strong face. This is a sensitive and insightful portrait giving a real insight into the his character.
He wears a fashionable and expensive Indian silk draped over his shoulder, these were so costly that Samuel Pepys hired his when he had his portrait painted. He also wears a large and very expensive wig; the expression 'bigwig' for a rich or important person comes from this fashion.

JOHN RILEY, or Ryley, (1646 – March 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was Court Painter to William III and Mary II. One of his pupils was Jonathan Richardson.
Riley was born in London, one of the sons of William Riley or Ryley, Lancaster Herald and Keeper of the Records in the Tower of London, who was created Norroy king-at-arms under the Commonwealth, but reverted to his herald's office at the Restoration.

Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy.
Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Charles II gave Riley some commissions, and eventually himself sat for him. Riley also painted James II and his queen, and, on the accession of William and Mary, he was appointed Court Painter.

Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller.

SIZE: 35 x 30 inches inches framed.
PROVENANCE: Private Collection, London.

Portrait of a Young Gentleman, probably of ...

Item Ref

Oil on canvas in a reproduction giltwood frame.

The sitter, a good looking young man, really not much more than a boy, wears his own hair rather than a wig, as was the custom for those of his age, but his velvet coat, waistcoat and cravat are completely in fashion.
This portrait came from the collection of the ancient Leader family, in their half timbered manor house, Monk's Hall, Syleham, Norfolk which stands in 450 acres.
The last owner was John Leader, who died unmarried in April 2016.

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.
Those who emulated his fashionable were many, some more talented than others; his influence was great.

SIZE: 35 x 30 inches inc. frame.
PROVENANCE: Leader family collection: Monk's Hall, Syleham.

Portrait of a Lady 1631, by Jan ...

Item Ref

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".