SOLD....Portrait of Lady Anne Cecil c.1635; Circle ...
Item Ref
8394
Oil on canvas in good quality 17th c. carved and giltwood frame.
LADY ANNE CECIL, COUNTESS OF NORTHUMBERLAND was born 1611/12 and baptised in the Chapel Royal, Whitehall, London. She was the daughter of William Cecil, Earl of Salisbury and Lady Catherine Howard. Anne married Algernon Percy, Earl of Northumberland before 1630 (date not known exactly) and bore him five daughters.
The portrait is unusual in that the sitter is clearly pregnant, her hand resting protectively across her belly. This well observed gesture exemplifies the greater interest in naturalism found in English paintings of the early 17th century.
The portrait is a symbol of the hope and need of these two great families for a male heir to the Earldom of Northumberland. Alas, no son was born and Anne, Countess of Northumberland died in December 1637 aged 26.
SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.
SIZE:47 x 39.5 inches inc. frame.
PROVENANCE: for many years in a Cheshire Private Collection.
A head and shoulders version of this portrait is at Lennoxlove House in the Collection of the Duke of Hamilton.
At Burghley House, ancestral home of the Cecils, is a beautiful portrait by Van Dyck of Lady Anne before her marriage.
LADY ANNE CECIL, COUNTESS OF NORTHUMBERLAND was born 1611/12 and baptised in the Chapel Royal, Whitehall, London. She was the daughter of William Cecil, Earl of Salisbury and Lady Catherine Howard. Anne married Algernon Percy, Earl of Northumberland before 1630 (date not known exactly) and bore him five daughters.
The portrait is unusual in that the sitter is clearly pregnant, her hand resting protectively across her belly. This well observed gesture exemplifies the greater interest in naturalism found in English paintings of the early 17th century.
The portrait is a symbol of the hope and need of these two great families for a male heir to the Earldom of Northumberland. Alas, no son was born and Anne, Countess of Northumberland died in December 1637 aged 26.
SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.
SIZE:47 x 39.5 inches inc. frame.
PROVENANCE: for many years in a Cheshire Private Collection.
A head and shoulders version of this portrait is at Lennoxlove House in the Collection of the Duke of Hamilton.
At Burghley House, ancestral home of the Cecils, is a beautiful portrait by Van Dyck of Lady Anne before her marriage.
SOLD
SOLD...Portrait of a Young Lady c.1770; Circle ...
Item Ref
8245
Oil on canvas within a very fine 18th c. carved and giltwood frame.
This charming portrait of an aristocratic young woman is by a talented artist very strongly influenced by Dance.
The treatment of the cloth and the skin tones are particularly well painted.
The sitter radiates a sense of peace and calm; in her hands and to her left are flowers...jasmine and honeysuckle. In the Language of Flowers honeysuckle signifies sweetness of disposition, yellow jasmine is grace and elegance, and white jasmine represents amiability.
SIR NATHANIEL DANCE (1735 - 1811) was a neo-classical history painter and portraitist. Son of an architect, he was trained as an artist by Francis Hayman from c.1749. He went to Rome in 1754 until 1765, working with Pompeo Batoni.
He met, and fell in love with, Angelica Kauffmann but the relationship ended when they returned to London in 1766.
Dance had a very good portrait business in London, painting the King and Queen.
He was a Founder Member of the Royal Academy.
He became a baronet (changing his name to Dance-Holland) and inherited a fortune in the 1770s and gave up portrait painting in 1782, becoming an M.P. in 1790.
SIZE: 43 x 35 inches inc. frame.
PROVENANCE: English Private Collection.
This charming portrait of an aristocratic young woman is by a talented artist very strongly influenced by Dance.
The treatment of the cloth and the skin tones are particularly well painted.
The sitter radiates a sense of peace and calm; in her hands and to her left are flowers...jasmine and honeysuckle. In the Language of Flowers honeysuckle signifies sweetness of disposition, yellow jasmine is grace and elegance, and white jasmine represents amiability.
SIR NATHANIEL DANCE (1735 - 1811) was a neo-classical history painter and portraitist. Son of an architect, he was trained as an artist by Francis Hayman from c.1749. He went to Rome in 1754 until 1765, working with Pompeo Batoni.
He met, and fell in love with, Angelica Kauffmann but the relationship ended when they returned to London in 1766.
Dance had a very good portrait business in London, painting the King and Queen.
He was a Founder Member of the Royal Academy.
He became a baronet (changing his name to Dance-Holland) and inherited a fortune in the 1770s and gave up portrait painting in 1782, becoming an M.P. in 1790.
SIZE: 43 x 35 inches inc. frame.
PROVENANCE: English Private Collection.
SOLD
SOLD....Portrait of Mariya Andreevna Kozlovskaya 1954, by ...
Item Ref
8534
Oil on sackcloth in simple black wood frame.
Boris Korniev (Russian, 1922-1973).
Portrait of the artist's wife, Mariya Andreevna Kozlovskaya. It was this painting, exhibited in the Leningrad Summer Exhibition of 1954, that earned Boris his place as a Member of the Artist's Union.
Signed and dated '54 (in Cyrillic, lower right); inscribed verso.
MARIYA ANDREEVNA KOZLOVSKAYA (born 1925) met her husband, Boris Korniev, at the Russian Academy of Arts, Repin, where they were both students. They married in 1949 and both graduated from the Academy in 1952. In the present portrait, she wears the same clothing that she wore on her graduation day.
Mariya is herself a successful artist, having exhibited at over 100 exhibitions within Russia and abroad. She was elected to the Artist's Union in 1954. She currently lives in St. Petersburg, where she shares a studio with her son, also an artist. Mariya (also known as Marina) is regarded as one of the most talented representatives of the Leningrad School of painting.
BORIS VASIILIEVICH KORNIEV (1922-1973) In 1938 he finished at Leningrad Art School. During the World War ll (called by the Russians The Great Patriotic War) Boris served in the army being awarded many medals for gallantry.
In 1945 he attended Leningrad Art College for a year then from 1946-1952 he studied at the Repin Academy under Professor Viktor Oreshnikov; he was a pupil of Boris Fogel, Genrikh Pavlovsky, Semion Abugov and Andrey Mylnikov.
In 1949, at the Academy, Boris met and married Mariya, both graduating in 1952. Boris was awarded the Gold Medal for his Diploma painting of 1952.
There were no studios available for the newlyweds so they lived with one mother and then the other; they painted each other's portraits at this time. This portrait of Mariya was in the Summer Exhibition in 1954 where it was seen by the Director of the Artist's Union; he was so impressed with it he invited Boris to become a member.
He painted portraits, landscapes and still lifes, showing work in numerous important exhibitions including the famous 'Soviet Russia' exhibition in Moscow 1960.
Member of the LCRAU in 1954, from 1962 Boris taught at the Repin Academy, (in the last year of his life he was made Professor of the Academy), Honoured Artist of the Russian Federation 1965. His work is in the Russian State Museum at the Hermitage, St. Petersburg, the Tretyakov State Gallery and in public and private collections world wide. He died on 24 December 1973.
LITERATURE: 'Boris Korniev. Paintings. Exhibition catalogue, Leningrad: Khudozhnik RSFSR 1975.'
' Unknown Socialist Realism. The Leningrad School.' St. Petersburg: NP-Print 2007. This book is the first on the history of the Leningrad School, one of the brightest and significant phenomena in Soviet art from 1930-1980.
This portrait is reproduced full page on page 46.
SIZE: (canvas) 41 inches x 32 1/2 inches.
PROVENANCE:
Boris Korniev and Mariya Kozlovskaya;
Sold by Mariya in 2007 to Percy Barkes, UK dealer in Russian Art ;
English Private Collection.
Boris Korniev (Russian, 1922-1973).
Portrait of the artist's wife, Mariya Andreevna Kozlovskaya. It was this painting, exhibited in the Leningrad Summer Exhibition of 1954, that earned Boris his place as a Member of the Artist's Union.
Signed and dated '54 (in Cyrillic, lower right); inscribed verso.
MARIYA ANDREEVNA KOZLOVSKAYA (born 1925) met her husband, Boris Korniev, at the Russian Academy of Arts, Repin, where they were both students. They married in 1949 and both graduated from the Academy in 1952. In the present portrait, she wears the same clothing that she wore on her graduation day.
Mariya is herself a successful artist, having exhibited at over 100 exhibitions within Russia and abroad. She was elected to the Artist's Union in 1954. She currently lives in St. Petersburg, where she shares a studio with her son, also an artist. Mariya (also known as Marina) is regarded as one of the most talented representatives of the Leningrad School of painting.
BORIS VASIILIEVICH KORNIEV (1922-1973) In 1938 he finished at Leningrad Art School. During the World War ll (called by the Russians The Great Patriotic War) Boris served in the army being awarded many medals for gallantry.
In 1945 he attended Leningrad Art College for a year then from 1946-1952 he studied at the Repin Academy under Professor Viktor Oreshnikov; he was a pupil of Boris Fogel, Genrikh Pavlovsky, Semion Abugov and Andrey Mylnikov.
In 1949, at the Academy, Boris met and married Mariya, both graduating in 1952. Boris was awarded the Gold Medal for his Diploma painting of 1952.
There were no studios available for the newlyweds so they lived with one mother and then the other; they painted each other's portraits at this time. This portrait of Mariya was in the Summer Exhibition in 1954 where it was seen by the Director of the Artist's Union; he was so impressed with it he invited Boris to become a member.
He painted portraits, landscapes and still lifes, showing work in numerous important exhibitions including the famous 'Soviet Russia' exhibition in Moscow 1960.
Member of the LCRAU in 1954, from 1962 Boris taught at the Repin Academy, (in the last year of his life he was made Professor of the Academy), Honoured Artist of the Russian Federation 1965. His work is in the Russian State Museum at the Hermitage, St. Petersburg, the Tretyakov State Gallery and in public and private collections world wide. He died on 24 December 1973.
LITERATURE: 'Boris Korniev. Paintings. Exhibition catalogue, Leningrad: Khudozhnik RSFSR 1975.'
' Unknown Socialist Realism. The Leningrad School.' St. Petersburg: NP-Print 2007. This book is the first on the history of the Leningrad School, one of the brightest and significant phenomena in Soviet art from 1930-1980.
This portrait is reproduced full page on page 46.
SIZE: (canvas) 41 inches x 32 1/2 inches.
PROVENANCE:
Boris Korniev and Mariya Kozlovskaya;
Sold by Mariya in 2007 to Percy Barkes, UK dealer in Russian Art ;
English Private Collection.
SOLD
SOLD....Portrait of a Lady 1931, by Flora ...
Item Ref
nrfk7
Oil on canvas, signed and dated upper right.
A superb and insightful portrait of a young woman, relaxed and lost in thought.
FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.
During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.
She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.
Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.
SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.
A superb and insightful portrait of a young woman, relaxed and lost in thought.
FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.
During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.
She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.
Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.
SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.
SOLD
Portrait of a Boy and Lamb c. ...
Item Ref
8746
Oil on canvas, signed above the lamb's head, in modern giltwood frame.
The young boy, dressed rather foppishly 'a la mode' of the Late Georgian or Regency period, holds a book, his finger marking his place. He looks to one side as if he has just been distracted from his reading.
His right arm is round a lamb which may have been a pet or it may be purely symbolic.
Lambs were often used in portraiture to signify innocence, gentleness, patience and humility .... characteristics thought highly desirable in a child.
F. SCARFE. The portrait is signed by this artist, but little is known of him. He lived in Marylebone, London, and exhibited a portrait at The Royal Academy in 1825.
SIZE:25.5 x 21.25 inches inc. frame.
PROVENANCE: The Collection of Brian Juhos from his Domaine in Southern France.(see Image 6).
{BRIAN JUHOS is a celebrated international decorator and interior designer; a renowned tastemaker, his signature style is an integral part of many sophisticated interiors around the world.}
The young boy, dressed rather foppishly 'a la mode' of the Late Georgian or Regency period, holds a book, his finger marking his place. He looks to one side as if he has just been distracted from his reading.
His right arm is round a lamb which may have been a pet or it may be purely symbolic.
Lambs were often used in portraiture to signify innocence, gentleness, patience and humility .... characteristics thought highly desirable in a child.
F. SCARFE. The portrait is signed by this artist, but little is known of him. He lived in Marylebone, London, and exhibited a portrait at The Royal Academy in 1825.
SIZE:25.5 x 21.25 inches inc. frame.
PROVENANCE: The Collection of Brian Juhos from his Domaine in Southern France.(see Image 6).
{BRIAN JUHOS is a celebrated international decorator and interior designer; a renowned tastemaker, his signature style is an integral part of many sophisticated interiors around the world.}
SOLD
SOLD....Portrait of a French infantry officer 1792; ...
Item Ref
8413
Oil on canvas in giltwood frame.
Painted just three years after the storming of the Bastille and the overthrow of the French monarchy this is a pleasingly frank portrait of a French officer of the Republican Infantry of the Line; he looks determined but of a good nature.
The unknown artist has used his considerable skill not just to accurately depict the sitter, but also to give the viewer a strong sense of the officer's personality.
Inscribed lower left 'Tanisch a Gle de France en 1792'.
1792 was the year in which the first French Republic was proclaimed and was marked by great military success, expanding the French borders across Europe.
SIZE: 27.75 x 23 inches inc. frame
PROVENANCE: Nottinghamshire Private Collection.
Private Collection of a Fellow of Cambridge University.
Painted just three years after the storming of the Bastille and the overthrow of the French monarchy this is a pleasingly frank portrait of a French officer of the Republican Infantry of the Line; he looks determined but of a good nature.
The unknown artist has used his considerable skill not just to accurately depict the sitter, but also to give the viewer a strong sense of the officer's personality.
Inscribed lower left 'Tanisch a Gle de France en 1792'.
1792 was the year in which the first French Republic was proclaimed and was marked by great military success, expanding the French borders across Europe.
SIZE: 27.75 x 23 inches inc. frame
PROVENANCE: Nottinghamshire Private Collection.
Private Collection of a Fellow of Cambridge University.
SOLD
SOLD....Portrait of a Gentleman c.1675; Circle of ...
Item Ref
8502
Oil on canvas of a gentleman, depicted within a feigned oval architectural cartouche, in a gilt frame.
MARY BEALE (1633-99) was born Mary Cradock, daughter of the Rev. John Cradock in Suffolk; in 1651 she married Charles Beale, Lord of the Manor of Walton, and moved to London. She was already known as a painter by 1654 and she was strongly influenced by Sir Peter Lely, Principal Painter to the King and famous Court and Society portraitist.
Lely was a friend of Mrs.Beale and she sometimes copied his work and frequently used his poses in her portraits.
She often depicts a stone oval heavily sculpted with fruit or flowers. The sitter's eyes tend to be almond shaped and her colouring pure and rich.
It was most unusual for a woman to take up a professional career as an artist at this time, but her studio thrived; her most active period was the 1670s and early '80s. Mary Beale died at Pall Mall and is buried in St. James's Church, Piccadilly.
SIZE: 36 x 30.5 inches inc. frame.
30.25 x 25.5 inches (canvas)
PROVENANCE: Collection of the late Dr. William Lindsay Gordon.
MARY BEALE (1633-99) was born Mary Cradock, daughter of the Rev. John Cradock in Suffolk; in 1651 she married Charles Beale, Lord of the Manor of Walton, and moved to London. She was already known as a painter by 1654 and she was strongly influenced by Sir Peter Lely, Principal Painter to the King and famous Court and Society portraitist.
Lely was a friend of Mrs.Beale and she sometimes copied his work and frequently used his poses in her portraits.
She often depicts a stone oval heavily sculpted with fruit or flowers. The sitter's eyes tend to be almond shaped and her colouring pure and rich.
It was most unusual for a woman to take up a professional career as an artist at this time, but her studio thrived; her most active period was the 1670s and early '80s. Mary Beale died at Pall Mall and is buried in St. James's Church, Piccadilly.
SIZE: 36 x 30.5 inches inc. frame.
30.25 x 25.5 inches (canvas)
PROVENANCE: Collection of the late Dr. William Lindsay Gordon.
SOLD
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SOLD...Portrait of a Lady c.1710; English School ...
Item Ref
8487
Oil on canvas in Victorian giltwood frame.
An English School painting showing strong signs of the influence of Sir Godfrey Kneller, Painter to the Royal Court and the most fashionable artist of his time.
This provincial portrait was probably painted by one of the many itinerant artists of the early 18th century who went from town to village painting the local lesser gentry and prosperous tradespeople.
Clearly this unknown artist was aware of Kneller's style and that the feigned oval was the height of fashion.
Although this artist did not have a great talent, this is a very pleasing slightly naive portrait and redolent of its period.
SIZE: 30 x 25 inches canvas
37.5 x 32.5 inc. frame
PROVENANCE: By descent in a Berkshire family.
An English School painting showing strong signs of the influence of Sir Godfrey Kneller, Painter to the Royal Court and the most fashionable artist of his time.
This provincial portrait was probably painted by one of the many itinerant artists of the early 18th century who went from town to village painting the local lesser gentry and prosperous tradespeople.
Clearly this unknown artist was aware of Kneller's style and that the feigned oval was the height of fashion.
Although this artist did not have a great talent, this is a very pleasing slightly naive portrait and redolent of its period.
SIZE: 30 x 25 inches canvas
37.5 x 32.5 inc. frame
PROVENANCE: By descent in a Berkshire family.
SOLD
SOLD...Portrait of a Boy c.1695; Circle of ...
Item Ref
8544
Oil on canvas in period carved and giltwood frame.
The sitter, expensively and fashionably dressed, looks confidently out at the viewer; he wears his cravat tied 'a la Steinkirk'.
(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)
CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.
D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
SIZE: 38 x 33 inches inc. frame.
PROVENANCE: by descent, an old Surrey private collection.
VERSO: old restorer's label
The sitter, expensively and fashionably dressed, looks confidently out at the viewer; he wears his cravat tied 'a la Steinkirk'.
(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)
CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.
D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
SIZE: 38 x 33 inches inc. frame.
PROVENANCE: by descent, an old Surrey private collection.
VERSO: old restorer's label
SOLD
SOLD....Portrait of Elizabeth, Lady Narborough, later Lady ...
Item Ref
8577
Oil on canvas in black and gilt ogee frame.
This portrait of Lady Narborough is absolutely typical of Verelst's work. One of five artists of the same family, Simon Pietersz. was best known as a hugely successful flower painter, only occasionally painting portraits.
Always using the same stylised technique, his sitters have a rather doll-like quality; perhaps his best known portrait is of the famous actress and courtesan Nell Gwynn, who was a chief patron.
ELIZABETH, LADY NARBOROUGH, later Lady Shovell, (1658-1732). Born Elizabeth Hill, daughter of John Hilll, Commissioner of the Navy, she married Rear Admiral Sir John Narborough, 1st Baronet RN (c. 1640 – 1688). He was an English naval commander who served with distinction during the Anglo-Dutch Wars and against the Barbary Coast pirates. They had two sons, Sir John Narborough, 2nd Baronet, and James Narborough who both entered naval careers and died, aged 23 and 22, in the sinking of HMS Association in 1707.
After her husband's death Elizabeth married, in March 1697, Sir Cloudesley Shovell , who had served under Narborough. They had two daughters.
Rear Admiral Shovell was a fine officer, but is now remembered mainly for the terrible tragedy of October 1707. His flagship, the Association, with Romney and Eagle, were swept onto the Bishop and Clerk rocks off the Scilly Isles, by strong westerly winds, and wrecked.
The weather was not good and the fleet had not been able to get good readings for their position and for this reason, Shovell thought they were further eastward than they actually were.
Of the 1315 men in these three ships, there was only one survivor, the Quartermaster of the Romney.
It is said the the Admiral was still alive when he reached shore, but was murdered by a local woman who smothered him in the sand, as he lay semi-conscious on the beach. A large emerald ring which he wore was missing when his body was discovered and it is assumed that it was for possession of this that he was murdered.
SIMON PIETERSZ. VERELST (1644-c.1721). Born at The Hague where his father was a portrait painter. He joined the Guild of St.Luke in 1666. He came to England in 1669 and was the first of his family to do so. Already known as a flower painter, he was encouraged by the Duke of Buckingham to paint portraits.
He became eccentric and conceited and took to calling himself the 'God of Flowers' and 'King of Painters'. Eventually he went completely mad and died in London between 1710 and c.1721.
SIZE: 35 x 30 inches inc. frame.
PROVENANCE: : Hinwick House, Bedfordshire.
(Image 4 shows Hinwick House.)
VERSO: old label for the noted company "Chapman Bros (Chelsea) Ltd. Picture Restorers, carvers, Gilders. 341 King's road, Chelsea. No.740."
This portrait of Lady Narborough is absolutely typical of Verelst's work. One of five artists of the same family, Simon Pietersz. was best known as a hugely successful flower painter, only occasionally painting portraits.
Always using the same stylised technique, his sitters have a rather doll-like quality; perhaps his best known portrait is of the famous actress and courtesan Nell Gwynn, who was a chief patron.
ELIZABETH, LADY NARBOROUGH, later Lady Shovell, (1658-1732). Born Elizabeth Hill, daughter of John Hilll, Commissioner of the Navy, she married Rear Admiral Sir John Narborough, 1st Baronet RN (c. 1640 – 1688). He was an English naval commander who served with distinction during the Anglo-Dutch Wars and against the Barbary Coast pirates. They had two sons, Sir John Narborough, 2nd Baronet, and James Narborough who both entered naval careers and died, aged 23 and 22, in the sinking of HMS Association in 1707.
After her husband's death Elizabeth married, in March 1697, Sir Cloudesley Shovell , who had served under Narborough. They had two daughters.
Rear Admiral Shovell was a fine officer, but is now remembered mainly for the terrible tragedy of October 1707. His flagship, the Association, with Romney and Eagle, were swept onto the Bishop and Clerk rocks off the Scilly Isles, by strong westerly winds, and wrecked.
The weather was not good and the fleet had not been able to get good readings for their position and for this reason, Shovell thought they were further eastward than they actually were.
Of the 1315 men in these three ships, there was only one survivor, the Quartermaster of the Romney.
It is said the the Admiral was still alive when he reached shore, but was murdered by a local woman who smothered him in the sand, as he lay semi-conscious on the beach. A large emerald ring which he wore was missing when his body was discovered and it is assumed that it was for possession of this that he was murdered.
SIMON PIETERSZ. VERELST (1644-c.1721). Born at The Hague where his father was a portrait painter. He joined the Guild of St.Luke in 1666. He came to England in 1669 and was the first of his family to do so. Already known as a flower painter, he was encouraged by the Duke of Buckingham to paint portraits.
He became eccentric and conceited and took to calling himself the 'God of Flowers' and 'King of Painters'. Eventually he went completely mad and died in London between 1710 and c.1721.
SIZE: 35 x 30 inches inc. frame.
PROVENANCE: : Hinwick House, Bedfordshire.
(Image 4 shows Hinwick House.)
VERSO: old label for the noted company "Chapman Bros (Chelsea) Ltd. Picture Restorers, carvers, Gilders. 341 King's road, Chelsea. No.740."
SOLD
SOLD....Portrait of Miss Gwnedd Rees Price, by ...
Item Ref
8546
Oil on canvas in giltwood frame.
This charming portrait of a pretty young girl, Gwynedd Rees Price, dates from the early 1900s; the little girl, wearing traditional Welsh dress, sits on a late 17th century oak chair and looks at the viewer with an air of peace and tranquillity.
Gwnedd wears a coral necklace, which, from Roman times and through the Middle Ages was believed to have healing properties and to avert the attentions of the 'evil eye'; for these reasons it was often hung round children's necks as a protection.
The portrait, in its original frame, is signed, upper left, by the artist.
W.G. GILLIES exhibited between 1890 and 1924. He lived at West Regent Street, Glasgow. His works were shown at the Glasgow Institute of Fine Arts (28 times) and the Royal Scottish Academy on one occasion.
(He must not be confused with the more famous William George Gillies, who was a modernist landscape and still life painter.)
The canvas bears a stencil verso of the supplier "G. Davidson. Artist's Colourman. 123 Sauchiehall Street, Glasgow".
SIZE: 50.5 x 40.25 inches inc. frame.
PROVENANCE: by direct descent from the sitter, through the family.
This charming portrait of a pretty young girl, Gwynedd Rees Price, dates from the early 1900s; the little girl, wearing traditional Welsh dress, sits on a late 17th century oak chair and looks at the viewer with an air of peace and tranquillity.
Gwnedd wears a coral necklace, which, from Roman times and through the Middle Ages was believed to have healing properties and to avert the attentions of the 'evil eye'; for these reasons it was often hung round children's necks as a protection.
The portrait, in its original frame, is signed, upper left, by the artist.
W.G. GILLIES exhibited between 1890 and 1924. He lived at West Regent Street, Glasgow. His works were shown at the Glasgow Institute of Fine Arts (28 times) and the Royal Scottish Academy on one occasion.
(He must not be confused with the more famous William George Gillies, who was a modernist landscape and still life painter.)
The canvas bears a stencil verso of the supplier "G. Davidson. Artist's Colourman. 123 Sauchiehall Street, Glasgow".
SIZE: 50.5 x 40.25 inches inc. frame.
PROVENANCE: by direct descent from the sitter, through the family.
SOLD
SOLD...Portrait of a Midshipman c.1810; Circle of ...
Item Ref
Oil on canvas in original Neo-Classical frame.
SIR THOMAS LAWRENCE (1769-1830) was the most remarkable British portrait painter of his day. He became an Associate of the Royal Academy in 1791, Member in 1794 and President in 1820. In 1792 he was made Painter to the King. Lawrence's work epitomised the Regency style.
This sensitive yet bravura portrait of a young Royal Naval officer painted during the Napoleonic War is typical of Lawrence's dramatic style; the background a windswept cloudiness, the sable curls on the forehead, the parted lips and brilliant eyes which were to indicate 'the more private sensibilities of the heart'.
Lawrence overcame the restrictions of the head and shoulders portrait by infusing it with a dynamic and sensual movement - a sense of drama for dramatic times.
This is apparent in every aspect, from the turn of the sitter's neck and the tousled 'Classical Roman' hairstyle - all revealing the debt to, and interest in, Classical sculpture and form which defined the taste of the age. This is a memorable painting of a very young naval officer whose chosen career was one of great danger.
There is an urgency to the image and the unspoken drama that the sitter conveys is intensified by the lowering, stormy sky, and the picture communicates a romantic sensibility that can truly be labelled Byronic.
PROVENANCE: a private collection.
SIR THOMAS LAWRENCE (1769-1830) was the most remarkable British portrait painter of his day. He became an Associate of the Royal Academy in 1791, Member in 1794 and President in 1820. In 1792 he was made Painter to the King. Lawrence's work epitomised the Regency style.
This sensitive yet bravura portrait of a young Royal Naval officer painted during the Napoleonic War is typical of Lawrence's dramatic style; the background a windswept cloudiness, the sable curls on the forehead, the parted lips and brilliant eyes which were to indicate 'the more private sensibilities of the heart'.
Lawrence overcame the restrictions of the head and shoulders portrait by infusing it with a dynamic and sensual movement - a sense of drama for dramatic times.
This is apparent in every aspect, from the turn of the sitter's neck and the tousled 'Classical Roman' hairstyle - all revealing the debt to, and interest in, Classical sculpture and form which defined the taste of the age. This is a memorable painting of a very young naval officer whose chosen career was one of great danger.
There is an urgency to the image and the unspoken drama that the sitter conveys is intensified by the lowering, stormy sky, and the picture communicates a romantic sensibility that can truly be labelled Byronic.
PROVENANCE: a private collection.
SOLD
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