Portrait of an Edwardian Lady c.1905; Attributed ...
Item Ref
8902
Oil on canvas in a reproduction frame of appropriate type.
Verso: inscription, 'Harrington Mann' on the lining, presumably duplicating an inscription on the canvas.
A fine portrait of an elegant society lady in the early 1900s, typical of Mann's work. Mann's use of colour was influenced by James McNeill Whistler and his bold brushwork shows the influence of John Singer Sargent...both of these can be seen in this portrait, especially the painterly delight in the use of the medium shown in his treatment of the dress fabric. (See images 4 and 5).
HARRINGTON MANN RP RE NPS NEAC (1864-1937) was born in Glasgow where he studied at the School of Art; then the Slade School under Legros and in Paris under Boulanger and Lefebvre.
Mann was a member of the Glasgow Boys movement in the 1880s.
He exhibited 51 paintings at the Royal Academy,1 at the Society of British Artists, 1 at the New English Art Club, 87 at the Royal Society of Portrait Painters, National Portrait Society 1882-1937 Glasgow, Rome and London and many others. Elected RP in 1900, NPS in 1911.
Mann married the artist Florence Sabine and was the father of the artist Cathleen Mann, who married the Marquess of Queensbury.
He established a highly successful practice as a society portraitist, and received a huge number of commissions from the United States. He had a house in New York as well as in London. His sitters included members of the Royal Family. He died in New York in 1937.
His work is in the Scottish National Portrait Gallery, Imperial War Museum, Tate, and the Art Galleries of Glasgow, Belfast, Sydney and Melbourne.
SIZE: 39 x 30 inches inc. frame.
PROVENANCE: Old Private Collection in the Midlands, built up by previous generations.
Verso: inscription, 'Harrington Mann' on the lining, presumably duplicating an inscription on the canvas.
A fine portrait of an elegant society lady in the early 1900s, typical of Mann's work. Mann's use of colour was influenced by James McNeill Whistler and his bold brushwork shows the influence of John Singer Sargent...both of these can be seen in this portrait, especially the painterly delight in the use of the medium shown in his treatment of the dress fabric. (See images 4 and 5).
HARRINGTON MANN RP RE NPS NEAC (1864-1937) was born in Glasgow where he studied at the School of Art; then the Slade School under Legros and in Paris under Boulanger and Lefebvre.
Mann was a member of the Glasgow Boys movement in the 1880s.
He exhibited 51 paintings at the Royal Academy,1 at the Society of British Artists, 1 at the New English Art Club, 87 at the Royal Society of Portrait Painters, National Portrait Society 1882-1937 Glasgow, Rome and London and many others. Elected RP in 1900, NPS in 1911.
Mann married the artist Florence Sabine and was the father of the artist Cathleen Mann, who married the Marquess of Queensbury.
He established a highly successful practice as a society portraitist, and received a huge number of commissions from the United States. He had a house in New York as well as in London. His sitters included members of the Royal Family. He died in New York in 1937.
His work is in the Scottish National Portrait Gallery, Imperial War Museum, Tate, and the Art Galleries of Glasgow, Belfast, Sydney and Melbourne.
SIZE: 39 x 30 inches inc. frame.
PROVENANCE: Old Private Collection in the Midlands, built up by previous generations.
SOLD
SOLD...Portrait of a Naval Officer; English School ...
Item Ref
8472
Oil on canvas in a good quality carved and giltwood period frame.
Painted within the fashionable feigned oval, the sitter is dressed in a relaxed manner, a cape thrown over his shoulder in the Classical style.
In the background can be seen what appears to be a ship-of-war leaving a fortified port. The craft is a two decker, and gunports can just be made out; she flies the red ensign at the stern and a commander's pennant at the mast head.
It seems most probable that the sitter is the captain of this ship - at this period uniforms were not worn in the Royal Navy.
The artist has a slightly naive, almost sculptural style...very pleasing and direct.
He was probably one of the many unknown travelling artists of the period who wandered over the country painting the lesser nobility and gentry. They were often found at naval ports where a captain returned from a successful voyage would spend some of his prize money on a portrait.
SIZE: 37 x 32 inches inc. frame.
Well carved period frame.
PROVENANCE; English Private Collection
Painted within the fashionable feigned oval, the sitter is dressed in a relaxed manner, a cape thrown over his shoulder in the Classical style.
In the background can be seen what appears to be a ship-of-war leaving a fortified port. The craft is a two decker, and gunports can just be made out; she flies the red ensign at the stern and a commander's pennant at the mast head.
It seems most probable that the sitter is the captain of this ship - at this period uniforms were not worn in the Royal Navy.
The artist has a slightly naive, almost sculptural style...very pleasing and direct.
He was probably one of the many unknown travelling artists of the period who wandered over the country painting the lesser nobility and gentry. They were often found at naval ports where a captain returned from a successful voyage would spend some of his prize money on a portrait.
SIZE: 37 x 32 inches inc. frame.
Well carved period frame.
PROVENANCE; English Private Collection
SOLD
Portrait of a Noblewoman, said to be ...
Item Ref
8791
A small full length portrait, oil on canvas in giltwood frame.
In this elegant portrait, an exquisite version 'in little' of a life-size Court painting, the sitter is resting in a chair of estate and wearing extremely rich Court clothing and jewellery.
The portrait itself has a jewel-like quality enhanced by the sitter's almost doll-like appearance.
In the Rushbrooke Hall inventory of paintings this portrait was always referred to as Queen Henrietta Maria, but the attribution is doubtful. (The late Mr. Quinn did not agree; see below).
Of cabinet size the painting has a great theatrical sense, using a combination of drapery and pose. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).
HENRIETTA MARIA of France (1609 – 1669) was the Queen consort of England, Scotland and Ireland as the wife of King Charles I. She was mother of two kings, Charles II and James II and grandmother of two queens and one king, Mary II, William III and Anne of Great Britain as well as paternal aunt of Louis XIV of France.
Her Catholic religion made her unpopular in England, and also prohibited her from being crowned in an Anglican service; therefore she never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, when the English Civil War began in 1642, Henrietta Maria was in Europe.
She returned to England in 1643 when she landed in Yorkshire with troops. She joined up with Royalist forces in the north and made her headquarters in York. She moved to Oxford to be with Charles but fled to France in July 1644 following the birth of her youngest daughter, Henrietta Anne when the position of the Royalists looked bleak; here she remained along with her sons.
Her husband's execution in 1649 was a terrible blow. She brought up her youngest child Henrietta in her own faith, but her efforts to persuade her youngest son, the Duke of Gloucester, to take the same course only produced discomfort in the exiled family.
The story of her marriage with her attached servant Lord Jermyn needs more confirmation than it has yet received to be accepted, but all the information which has reached us of her relations with her children points to the estrangement which had grown up between them.
After the Restoration she returned to England when she found that she had no place in the new world. She received from Parliament a grant of £30,000 a year in compensation for the loss of her dower-lands, and the King added a similar sum as a pension from himself.
In January 1661 she returned to France to be present at the marriage of her daughter Henrietta to the Duke of Orleans.
In July 1662 she set out again for England, and took up her residence once more at Somerset House. Her health failed her, and on the 24th of June 1665, she departed in search of the clearer air of her native country.
She died on the 31st of August 1666, at Colombes, not far from Paris.
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: 27.5 x 18.5 inches inc. frame.
PROVENANCE:
*Rushbrooke Hall, Suffolk until the contents sale of 1919. (Image 5)
*Nowton Cottage, Suffolk until 2010. (Image 6)
*With Roy Precious Fine Art.
*Collection of the late John Quinn, Kent.
(Mr. Quinn had a theory, backed up by his research, that this portrait was of Queen Henrietta Maria and contains extensive coded references to her relationship with Lord Jermyn. All this information is available to the purchaser, should they wish it.)
Verso: old label: 'Francis Collins from Great Portland Street.
In this elegant portrait, an exquisite version 'in little' of a life-size Court painting, the sitter is resting in a chair of estate and wearing extremely rich Court clothing and jewellery.
The portrait itself has a jewel-like quality enhanced by the sitter's almost doll-like appearance.
In the Rushbrooke Hall inventory of paintings this portrait was always referred to as Queen Henrietta Maria, but the attribution is doubtful. (The late Mr. Quinn did not agree; see below).
Of cabinet size the painting has a great theatrical sense, using a combination of drapery and pose. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).
HENRIETTA MARIA of France (1609 – 1669) was the Queen consort of England, Scotland and Ireland as the wife of King Charles I. She was mother of two kings, Charles II and James II and grandmother of two queens and one king, Mary II, William III and Anne of Great Britain as well as paternal aunt of Louis XIV of France.
Her Catholic religion made her unpopular in England, and also prohibited her from being crowned in an Anglican service; therefore she never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, when the English Civil War began in 1642, Henrietta Maria was in Europe.
She returned to England in 1643 when she landed in Yorkshire with troops. She joined up with Royalist forces in the north and made her headquarters in York. She moved to Oxford to be with Charles but fled to France in July 1644 following the birth of her youngest daughter, Henrietta Anne when the position of the Royalists looked bleak; here she remained along with her sons.
Her husband's execution in 1649 was a terrible blow. She brought up her youngest child Henrietta in her own faith, but her efforts to persuade her youngest son, the Duke of Gloucester, to take the same course only produced discomfort in the exiled family.
The story of her marriage with her attached servant Lord Jermyn needs more confirmation than it has yet received to be accepted, but all the information which has reached us of her relations with her children points to the estrangement which had grown up between them.
After the Restoration she returned to England when she found that she had no place in the new world. She received from Parliament a grant of £30,000 a year in compensation for the loss of her dower-lands, and the King added a similar sum as a pension from himself.
In January 1661 she returned to France to be present at the marriage of her daughter Henrietta to the Duke of Orleans.
In July 1662 she set out again for England, and took up her residence once more at Somerset House. Her health failed her, and on the 24th of June 1665, she departed in search of the clearer air of her native country.
She died on the 31st of August 1666, at Colombes, not far from Paris.
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: 27.5 x 18.5 inches inc. frame.
PROVENANCE:
*Rushbrooke Hall, Suffolk until the contents sale of 1919. (Image 5)
*Nowton Cottage, Suffolk until 2010. (Image 6)
*With Roy Precious Fine Art.
*Collection of the late John Quinn, Kent.
(Mr. Quinn had a theory, backed up by his research, that this portrait was of Queen Henrietta Maria and contains extensive coded references to her relationship with Lord Jermyn. All this information is available to the purchaser, should they wish it.)
Verso: old label: 'Francis Collins from Great Portland Street.
SOLD
SOLD...Portrait of John Campbell, Duke of Argyll ...
Item Ref
8356
JOHN CAMBELL, 2nd Duke of Argyll and Duke of Greenwich (1680-1743) was a statesman and soldier, he served under the Duke of Marlborough at the Battle of Malplaquet in 1709, becoming Commander-in-Chief in Spain in 1711.
He suppressed the Jacobite Rebellion of 1715, resisting the Earl of Mar's forces at Sherrifmuir, but was then replaced for taking too lenient an attitude to the rebels. He was one of the mainstays of government policy in Scotland until his final dismissal in 1740.
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:38 x 33 inches inc. frame
PROVENANCE: by descent, Scottish private collection. Verso: early 20th c. trade label: 'Doic, Wilson & Wheatley. Picture Restorers to His Majesty the King. 90 George Street, Edinburgh.'
He suppressed the Jacobite Rebellion of 1715, resisting the Earl of Mar's forces at Sherrifmuir, but was then replaced for taking too lenient an attitude to the rebels. He was one of the mainstays of government policy in Scotland until his final dismissal in 1740.
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:38 x 33 inches inc. frame
PROVENANCE: by descent, Scottish private collection. Verso: early 20th c. trade label: 'Doic, Wilson & Wheatley. Picture Restorers to His Majesty the King. 90 George Street, Edinburgh.'
SOLD
SOLD....Portrait of a Lady c.1720; Follower of ...
Item Ref
NP103
Oil on canvas in gilded frame.
A delightful portrait of a young lady in the early 18th century. Fashionably clad in her 'undress', her hair 'a la mode', she sits, lost in thought.
There are many hints that this is probably a betrothal portrait.
In her hair the lady wears pearls...symbol of purity and love.
To her right the sitter rests her elbow on an urn - the symbol of female fecundity - to further make the point, the urn bears an image of a naked nymph.
From the urn grows an orange tree. It was inconceivable to get married without flowers from the orange tree for the bride's bouquet. The orange tree's symbolic role came from the fact that the tree bears leaves, flowers and fruit at the same time. It was seen as an emblem of love and marriage; the leaves are always green and symbolise lifelong love, its white flowers symbolise the fiancee's sincerity, while the fruits, which ripen between the flowers, represent hope for an heir. Significantly, the sitter rests the flowers in her lap.
An especially charming aspect of this portrait is its size. Its three quarter length format was normally reserved for canvases of 50 x 40 inches, but this painting's size gives it a more intimate feel; possibly it was meant as a gift for the husband to be.
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:29.27 x 26 imches inc. frame.
Canvas size: 22.75 x 19.25 inches.
PROVENANCE: The Collection of a Lady of Title, East Sussex.
A delightful portrait of a young lady in the early 18th century. Fashionably clad in her 'undress', her hair 'a la mode', she sits, lost in thought.
There are many hints that this is probably a betrothal portrait.
In her hair the lady wears pearls...symbol of purity and love.
To her right the sitter rests her elbow on an urn - the symbol of female fecundity - to further make the point, the urn bears an image of a naked nymph.
From the urn grows an orange tree. It was inconceivable to get married without flowers from the orange tree for the bride's bouquet. The orange tree's symbolic role came from the fact that the tree bears leaves, flowers and fruit at the same time. It was seen as an emblem of love and marriage; the leaves are always green and symbolise lifelong love, its white flowers symbolise the fiancee's sincerity, while the fruits, which ripen between the flowers, represent hope for an heir. Significantly, the sitter rests the flowers in her lap.
An especially charming aspect of this portrait is its size. Its three quarter length format was normally reserved for canvases of 50 x 40 inches, but this painting's size gives it a more intimate feel; possibly it was meant as a gift for the husband to be.
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:29.27 x 26 imches inc. frame.
Canvas size: 22.75 x 19.25 inches.
PROVENANCE: The Collection of a Lady of Title, East Sussex.
SOLD
SOLD....Portrait of a Lady 1601; Circle of ...
Item Ref
8548
Oil on panel in 'cassetta' frame.
The portrait is inscribed upper right "Ao 1.6.0.1. Stilo Veteri D. 11.7 bris. ADAMO Aet 23" The inscription translates: "In the year 1601, Old Style, on the 11th day of September, MY TRULY BELOVED aged 23".
(Protestants throughout Europe flatly refused to adopt the new Gregorian calendar introduced by Pope Gregory XIII in 1582; it would still have been a sensitive issue in 1601. The inscription is all early modern Latin rather than Italian and the Protestant sitter, and her husband, wished to stress their relgious identity; hence the use of 'old style' as 'new style' was Catholic.)
The sitter is contained within a feigned stone oval with the spandrels painted as if carved.
This beautiful portrait was painted to commemorate the marriage of this young lady; she proudly holds her right hand in a prominent position so the viewer may admire her large diamond engagement ring and her gold marriage band. (At this time wedding rings were worn on any finger on either hand.) The pearls on the sitter's wrist signify purity and innocence.
Her hairline is fashionably plucked to increase the size of her forehead, this was considered to enhance female beauty.
This painting is an excellent example of the portraits popular with wealthy Dutch burghers.
The sitter is soberly but richly dressed in a cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, richly silver embroidered sleeves, and a long black 'vlieger' overgown. The latter denotes that she is a married woman and was worn with great pride.
Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.
The artist invests the portrait with a joyous dignity, the beautifuly painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex silver stitches which create the patterns on her sleeves.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.
Beautifully moulded by light and colour, this portrait has the lively human presence of a happy young woman that reaches across the four centuries since her marriage.
GORTZIUS GELDORP (1553-1616)
After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders, they are traditional in style but painted in a smoother manne than portraits by the old Cologne masters.
SIZE: 29 x 21 inches panel size
34.5 x 25.75 inches inc. frame
PROVENANCE: Private Collection, Huntingdon since c.1780.
Verso, pencil inscription 'Breakfast Room. No. 4'
The portrait is inscribed upper right "Ao 1.6.0.1. Stilo Veteri D. 11.7 bris. ADAMO Aet 23" The inscription translates: "In the year 1601, Old Style, on the 11th day of September, MY TRULY BELOVED aged 23".
(Protestants throughout Europe flatly refused to adopt the new Gregorian calendar introduced by Pope Gregory XIII in 1582; it would still have been a sensitive issue in 1601. The inscription is all early modern Latin rather than Italian and the Protestant sitter, and her husband, wished to stress their relgious identity; hence the use of 'old style' as 'new style' was Catholic.)
The sitter is contained within a feigned stone oval with the spandrels painted as if carved.
This beautiful portrait was painted to commemorate the marriage of this young lady; she proudly holds her right hand in a prominent position so the viewer may admire her large diamond engagement ring and her gold marriage band. (At this time wedding rings were worn on any finger on either hand.) The pearls on the sitter's wrist signify purity and innocence.
Her hairline is fashionably plucked to increase the size of her forehead, this was considered to enhance female beauty.
This painting is an excellent example of the portraits popular with wealthy Dutch burghers.
The sitter is soberly but richly dressed in a cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, richly silver embroidered sleeves, and a long black 'vlieger' overgown. The latter denotes that she is a married woman and was worn with great pride.
Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.
The artist invests the portrait with a joyous dignity, the beautifuly painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex silver stitches which create the patterns on her sleeves.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.
Beautifully moulded by light and colour, this portrait has the lively human presence of a happy young woman that reaches across the four centuries since her marriage.
GORTZIUS GELDORP (1553-1616)
After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders, they are traditional in style but painted in a smoother manne than portraits by the old Cologne masters.
SIZE: 29 x 21 inches panel size
34.5 x 25.75 inches inc. frame
PROVENANCE: Private Collection, Huntingdon since c.1780.
Verso, pencil inscription 'Breakfast Room. No. 4'
SOLD
SOLD...Portrait of Duncan Forbes of Culloden (1570-1654); ...
Item Ref
An interesting painting in that the sitter is shown smiling, unusual in 17th c. portraiture.
Forbes is an old Scottish name, coming from the lands of Forbes in Aberdeenshire, close to the modern town of Alford. The first bearer of the name on record is one Duncan de Forbeys in c.1272 They were an east coast family, prominent in Aberdeenshire, and spread around the Moray Firth in the medieval period. They appear in Inverness at an early date, and rapidly became successful merchants.
In 1622 for the Scottish Parliament's tax on annual rents, money loaned with property as security, Duncan Forbes 'owed to 5 individuals £6,666 13s 4d Scots', but was in turn owed £10,000 Scots by another five individuals, including the clan chief, Sir Adam MacKay of Strathnaver in Sutherland.
He was wealthy enough by 1626 to be able to buy the estate of Culloden - a clear example of a wealthy urban merchant leaving trade to set his family up as land owners and lairds.
This Duncan Forbes, known as 'Grey Duncan', the progenitor of a long line of Duncan Forbes of Culloden, was descended from the family of Forbes of Tolquhoun on his father's side, and of the Keiths, Earls Marischal of Scotland, on his mother's side. (This family built one of Scotland's finest renaissance houses, now in ruins, at Tolquhoun in Aberdeenshire.) He was both Provost of Inverness and a member of the Scottish Parliament for the town, before dying in 1654, aged 84.
The frame is fine quality, 17th c., carved and giltwood.
The artist is as yet unknown, but clearly was talented and influenced by George Jamesone.
Jamesone (c.1589/90-1644) was born in Aberdeen and was the founder of the native Scottish school of portraiture. He was especially popular with the Scottish nobility.
Size inc. frame 37 x 32 inches
Provenance:
by descent through the family until the 1950's.
1987-2007, Roy Precious, North Yorkshire.
In 2007 re-acquired by a direct descendant of Grey Duncan.
Forbes is an old Scottish name, coming from the lands of Forbes in Aberdeenshire, close to the modern town of Alford. The first bearer of the name on record is one Duncan de Forbeys in c.1272 They were an east coast family, prominent in Aberdeenshire, and spread around the Moray Firth in the medieval period. They appear in Inverness at an early date, and rapidly became successful merchants.
In 1622 for the Scottish Parliament's tax on annual rents, money loaned with property as security, Duncan Forbes 'owed to 5 individuals £6,666 13s 4d Scots', but was in turn owed £10,000 Scots by another five individuals, including the clan chief, Sir Adam MacKay of Strathnaver in Sutherland.
He was wealthy enough by 1626 to be able to buy the estate of Culloden - a clear example of a wealthy urban merchant leaving trade to set his family up as land owners and lairds.
This Duncan Forbes, known as 'Grey Duncan', the progenitor of a long line of Duncan Forbes of Culloden, was descended from the family of Forbes of Tolquhoun on his father's side, and of the Keiths, Earls Marischal of Scotland, on his mother's side. (This family built one of Scotland's finest renaissance houses, now in ruins, at Tolquhoun in Aberdeenshire.) He was both Provost of Inverness and a member of the Scottish Parliament for the town, before dying in 1654, aged 84.
The frame is fine quality, 17th c., carved and giltwood.
The artist is as yet unknown, but clearly was talented and influenced by George Jamesone.
Jamesone (c.1589/90-1644) was born in Aberdeen and was the founder of the native Scottish school of portraiture. He was especially popular with the Scottish nobility.
Size inc. frame 37 x 32 inches
Provenance:
by descent through the family until the 1950's.
1987-2007, Roy Precious, North Yorkshire.
In 2007 re-acquired by a direct descendant of Grey Duncan.
SOLD
SOLD....Portrait of Sir Nathaniel Johnson c.1680, later ...
Item Ref
8769
Oil on canvas in original high quality carved and giltwood 17th c. frame.
SIR NATHANIEL JOHNSON (C.1645-1714) was the eldest son of William Johnson, merchant, of Newcastle by Margaret, daughter of William Sherwood, merchant, of Newcastle. Johnson was knighted on 28 Dec. 1680, which is probably when this fine portrait was painted.
OFFICES HELD:-
Deputy Treasurer of Barbados by 1668; Committee for hearth-tax 1679-84; Governor of the Leeward Isles 1686-9, Governor of Carolina 1702-8.
Member of Eastland co. Newcastle 1668, Merchant Adventurers 1669, Freeman 1673; J.P. County Durham 1674-?86, Collector of hearth-tax, Cumberland., Westmoreland, Northumberland and County Durham by 1675; Commissioner for Assessment, Co. Durham 1677-9, Newcastle 1679-80, carriage of coals, Newcastle 1679; Captain of Militia Foot, Newcastle by 1680-?Feb. 1688; Member, Hon. Artillery Co. 1681; mayor, Newcastle 1681-2, alderman 1682-June 1688.
Nathaniel Johnson had become a prominent merchant by 1686, when the Lords Proprietors made him a Cassique of South Carolina, and he received appointment as governor of the Leeward Islands. Resigning that post in 1689, Johnson moved to Carolina and he was commissioned governor of the colony in June 1702. Taking over from deputy governor James Moore in March 1703, Johnson quickly moved to limit the rights of Dissenters. After the proprietors disallowed the Exclusion and Church acts of 1704, the Establishment Act of 1706 became law and controlled South Carolina’s government until the Revolution.
The colonists' constant fear of attack from Spanish Florida sharpened when England declared war against Spain. A wall along the eastern edge of Charles Town had been planned since 1694, but construction had been sporadic. In late 1704 governor Johnson reported that the project remained incomplete, and pushed for funding a new plan: a ring of fortifications around the town, with a curtain wall connecting the defensive works. The fortified city was tested in August, 1706, when a French and Spanish fleet appeared in Charleston Harbour. With Governor Johnson leading the courageous defence, the invasion was repelled.
Carolina politics, however, remained tumultuous. In December 1708, the proprietors appointed Edward Tynte to replace governor Nathaniel Johnson. Johnson remained in office until his successor arrived in Charles Town in November 1709.
Sir Nathaniel Johnson retired to his Silk Hope plantation, granted to him in 1696 as 1,940 acres; he died here in 1712 and was buried there. Among South Carolina’s later governors were his son, Robert Johnson, and Thomas Broughton, the husband of his daughter Anne Johnson.
Johnson's Fort at Windmill Point on James Island was named for Governor Johnson.
JOHN RILEY (1646 - 1691) was born in London where his father was Lancaster Herald; he built a thriving portrait painting practice with the middle classes. In December 1688 he and Sir Godfrey Kneller were jointly appointed Principal Painter to the King. Riley was an outstanding portraitist catching much of the character of his sitters, as is clearly shown in this excellent quality portrait of Johnson.
SIZE:37 x 33 inc. frame
PROVENANCE:
*A Southern English Private Collection.
*With Roy Precious Fine Art.
*Warwickshire Private Collection from 2004.
Verso: a 19th c. handwritten label 'Governor Johnson an ancestor of the Bonner family. Governor of Jamaica. Sir Godfrey Kneller.' and an old storage label 'E. Judge. 8, East Cross, Tenterden'
SIR NATHANIEL JOHNSON (C.1645-1714) was the eldest son of William Johnson, merchant, of Newcastle by Margaret, daughter of William Sherwood, merchant, of Newcastle. Johnson was knighted on 28 Dec. 1680, which is probably when this fine portrait was painted.
OFFICES HELD:-
Deputy Treasurer of Barbados by 1668; Committee for hearth-tax 1679-84; Governor of the Leeward Isles 1686-9, Governor of Carolina 1702-8.
Member of Eastland co. Newcastle 1668, Merchant Adventurers 1669, Freeman 1673; J.P. County Durham 1674-?86, Collector of hearth-tax, Cumberland., Westmoreland, Northumberland and County Durham by 1675; Commissioner for Assessment, Co. Durham 1677-9, Newcastle 1679-80, carriage of coals, Newcastle 1679; Captain of Militia Foot, Newcastle by 1680-?Feb. 1688; Member, Hon. Artillery Co. 1681; mayor, Newcastle 1681-2, alderman 1682-June 1688.
Nathaniel Johnson had become a prominent merchant by 1686, when the Lords Proprietors made him a Cassique of South Carolina, and he received appointment as governor of the Leeward Islands. Resigning that post in 1689, Johnson moved to Carolina and he was commissioned governor of the colony in June 1702. Taking over from deputy governor James Moore in March 1703, Johnson quickly moved to limit the rights of Dissenters. After the proprietors disallowed the Exclusion and Church acts of 1704, the Establishment Act of 1706 became law and controlled South Carolina’s government until the Revolution.
The colonists' constant fear of attack from Spanish Florida sharpened when England declared war against Spain. A wall along the eastern edge of Charles Town had been planned since 1694, but construction had been sporadic. In late 1704 governor Johnson reported that the project remained incomplete, and pushed for funding a new plan: a ring of fortifications around the town, with a curtain wall connecting the defensive works. The fortified city was tested in August, 1706, when a French and Spanish fleet appeared in Charleston Harbour. With Governor Johnson leading the courageous defence, the invasion was repelled.
Carolina politics, however, remained tumultuous. In December 1708, the proprietors appointed Edward Tynte to replace governor Nathaniel Johnson. Johnson remained in office until his successor arrived in Charles Town in November 1709.
Sir Nathaniel Johnson retired to his Silk Hope plantation, granted to him in 1696 as 1,940 acres; he died here in 1712 and was buried there. Among South Carolina’s later governors were his son, Robert Johnson, and Thomas Broughton, the husband of his daughter Anne Johnson.
Johnson's Fort at Windmill Point on James Island was named for Governor Johnson.
JOHN RILEY (1646 - 1691) was born in London where his father was Lancaster Herald; he built a thriving portrait painting practice with the middle classes. In December 1688 he and Sir Godfrey Kneller were jointly appointed Principal Painter to the King. Riley was an outstanding portraitist catching much of the character of his sitters, as is clearly shown in this excellent quality portrait of Johnson.
SIZE:37 x 33 inc. frame
PROVENANCE:
*A Southern English Private Collection.
*With Roy Precious Fine Art.
*Warwickshire Private Collection from 2004.
Verso: a 19th c. handwritten label 'Governor Johnson an ancestor of the Bonner family. Governor of Jamaica. Sir Godfrey Kneller.' and an old storage label 'E. Judge. 8, East Cross, Tenterden'
SOLD
SOLD....Portrait of Thomas Oxenden 1603; Circle of ...
Item Ref
8390
Oil on oak panel, inscribed 'Ano. dni/ 1603. Aetatis 7'.
The painting is contained within an excellent reproduction of the part-gilt 'cassetta' or box frame fashionable from c.1560 - 1635.
A charming and sensitive portrait of the seven year old Thomas Oxenden; obviously of an extremely wealthy family, the boy wears fashionable clothes trimmed with expensive Italian 'reticella' lace.
The painting is by an artist of the period of Gheeraerts and much influenced by him. The pose, with its feeling of calm and stillness, and the alert intelligence of the sitter's eyes, suggest the artist took a much more insightful view of the sitter than was common at the time.
The OXENDEN FAMILY of Kent (with cadet branches in Warwickshire and Northamptonshire) are one of our oldest county families and, in the 17th and 18th centuries, owned several estates including Deane Manor near Wingham and Broome Park near Canterbury. The main Kent branch achieved a baronetcy in the mid 17th century.
MARCUS GHEERAERTS THE YOUNGER (1562-1636) was one of the leading fashionable portrait painters of his age. Born in Bruges, died in London.
He came to England with his father in 1568 at the age of seven and remained here all his life. His great patron was Sir Henry Lee of Ditchley for whom he painted, in 1592, the famous Ditchley portrait of Queen Elizabeth. Later he became Court Painter to James l; eventually his fashionable vogue waned and country gentry became his best patrons.
SIZE: 32.5 x 27.5 inches inc. frame
PROVENANCE: Hertfordshire Private Collection.
The painting is contained within an excellent reproduction of the part-gilt 'cassetta' or box frame fashionable from c.1560 - 1635.
A charming and sensitive portrait of the seven year old Thomas Oxenden; obviously of an extremely wealthy family, the boy wears fashionable clothes trimmed with expensive Italian 'reticella' lace.
The painting is by an artist of the period of Gheeraerts and much influenced by him. The pose, with its feeling of calm and stillness, and the alert intelligence of the sitter's eyes, suggest the artist took a much more insightful view of the sitter than was common at the time.
The OXENDEN FAMILY of Kent (with cadet branches in Warwickshire and Northamptonshire) are one of our oldest county families and, in the 17th and 18th centuries, owned several estates including Deane Manor near Wingham and Broome Park near Canterbury. The main Kent branch achieved a baronetcy in the mid 17th century.
MARCUS GHEERAERTS THE YOUNGER (1562-1636) was one of the leading fashionable portrait painters of his age. Born in Bruges, died in London.
He came to England with his father in 1568 at the age of seven and remained here all his life. His great patron was Sir Henry Lee of Ditchley for whom he painted, in 1592, the famous Ditchley portrait of Queen Elizabeth. Later he became Court Painter to James l; eventually his fashionable vogue waned and country gentry became his best patrons.
SIZE: 32.5 x 27.5 inches inc. frame
PROVENANCE: Hertfordshire Private Collection.
SOLD
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SOLD...Portrait of Elizabeth Pope, Countess of Lindsey ...
Item Ref
8479
A good quality and expressively painted portrait thought to be of the Countess of Lindsey in her State robes; the style is very much that of Sir Godfrey Kneller and clearly painted by a talented artist, possibly a member of Kneller's Studio.
The handling of the skin tones in particular is very sensitive.
Although the sitter is depicted in her most formal clothing the artist presents her as a person, not as an icon or symbol.
The face is not a mere mask, but conveys intelligence and a hint of good humour.
ELIZABETH POPE (born c.1640, died 1719) a Catholic and daughter of the 2nd Earl of Downe, had married as her first husband Sir Henry Francis Lee, who died in 1667. Her second husband, whom she married sometime between 1669 and 1671, was Robert Bertie, 3rd Earl of Lindsey; she was his third wife. This marriage marked a significant rise in her status and fortunes. Her new husband was hereditary Lord Great Chamberlain and was made a Gentleman of the Bedchamber to the King, and Elizabeth herself was made a Lady of the Bedchamber to the Queen in 1676.
Several years earlier her son by her first husband had been married to Lady Charlotte Fitzroy, illegitimate daughter of Charles II and Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland.
SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King.
His work was so in demand he could not keep up with it alone, so he maintained a busy studio, employing many talented artists as his assistants. Many of this assistants went on to found their own successful studios.
Kneller's influence on portraiture in the 18th century cannot be overestimated as many copied his style....with varying degrees of success.
Oil on canvas in modern giltwood frame.
SIZE: 48 x 39.5 inches inc. frame
PROVENANCE: Private Collection, Sussex.
A similar portrait of the Countess, by Kneller, has descended through the Bertie family at Grimsthorpe Castle, Lincolnshire. This portrait is illustrated p.200 of 'Painted Ladies. Women at the Court of Charles II' published by the National Portrait Gallery, 2001.
The handling of the skin tones in particular is very sensitive.
Although the sitter is depicted in her most formal clothing the artist presents her as a person, not as an icon or symbol.
The face is not a mere mask, but conveys intelligence and a hint of good humour.
ELIZABETH POPE (born c.1640, died 1719) a Catholic and daughter of the 2nd Earl of Downe, had married as her first husband Sir Henry Francis Lee, who died in 1667. Her second husband, whom she married sometime between 1669 and 1671, was Robert Bertie, 3rd Earl of Lindsey; she was his third wife. This marriage marked a significant rise in her status and fortunes. Her new husband was hereditary Lord Great Chamberlain and was made a Gentleman of the Bedchamber to the King, and Elizabeth herself was made a Lady of the Bedchamber to the Queen in 1676.
Several years earlier her son by her first husband had been married to Lady Charlotte Fitzroy, illegitimate daughter of Charles II and Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland.
SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King.
His work was so in demand he could not keep up with it alone, so he maintained a busy studio, employing many talented artists as his assistants. Many of this assistants went on to found their own successful studios.
Kneller's influence on portraiture in the 18th century cannot be overestimated as many copied his style....with varying degrees of success.
Oil on canvas in modern giltwood frame.
SIZE: 48 x 39.5 inches inc. frame
PROVENANCE: Private Collection, Sussex.
A similar portrait of the Countess, by Kneller, has descended through the Bertie family at Grimsthorpe Castle, Lincolnshire. This portrait is illustrated p.200 of 'Painted Ladies. Women at the Court of Charles II' published by the National Portrait Gallery, 2001.
SOLD
SOLD....Portrait of a Young Lady c.1730; Attributed ...
Item Ref
8604
Oil on canvas in early 19th c. gilt frame.
This fine portait of a young woman has a real Baroque swagger to it; the lady seems almost to be moving across the canvas, her silken robe billowing behind her.
The material of her gown and robe have the expensive-looking rather metallic sheen associated with Highmore's treatment of material.
The sitter looks directly at the viewer with confidence and candour.
The veins of her left hand can be seen faintly shown in blue; at this period, and earlier, for a woman to have a semi-translucent skin and bue veins showing was considered very attractive and well bred...hence the expression 'blue-blood' for members of the aristocracy.
JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.
Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.
By the 1730s his style had become more polished and sophisticated.
Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.
Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.
SIZE:45 x 36.75 inches inc. frame.
PROVENANCE: Private Collection, Southern England.
This fine portait of a young woman has a real Baroque swagger to it; the lady seems almost to be moving across the canvas, her silken robe billowing behind her.
The material of her gown and robe have the expensive-looking rather metallic sheen associated with Highmore's treatment of material.
The sitter looks directly at the viewer with confidence and candour.
The veins of her left hand can be seen faintly shown in blue; at this period, and earlier, for a woman to have a semi-translucent skin and bue veins showing was considered very attractive and well bred...hence the expression 'blue-blood' for members of the aristocracy.
JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.
Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.
By the 1730s his style had become more polished and sophisticated.
Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.
Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.
SIZE:45 x 36.75 inches inc. frame.
PROVENANCE: Private Collection, Southern England.
SOLD
SOLD...Portrait of a Lady c.1680; attributed to ...
Item Ref
Oil on canvas in late 18th c. Continental part gilt frame.
This 'portrait de cabinet' (a painting for a small intimate room known as a cabinet) is a characteristic example of the international baroque style of which Netscher was a prime proponent; it elegantly exemplifies the artist's interest in depicting the luxurious.
The painting is as much a study of fine clothes and expensive textiles as it a portrayal of a lady. Netscher was particularly renowned for his skill in depicting white satin. The tactile and visual richness of the cloth is captured brilliantly, and seems to gleam with inviting realism contrasting with the fashionably pale skin of the sitter.
The lady gracefully rests an arm on a costly rug and looks invitingly at the viewer, a bowl of roses to her left (white for spiritual love, red for carnal) and a park in the background. Her serene composure complements the luxury of her attire and surroundings, unifying in the painting with a sense of extravagent beauty.
CASPAR NETSCHER(1639-84) was a Dutch portraitist of Holland's Golden Age of painting. In his early career at The Hague, where he settled in 1651, he also painted genre and religious scenes; but from c.1670 onwards he devoted himself exclusively to the portrait, often of Court members in The Hague, earning a considerable fortune. His reputation was so highly regarded that he was invited to England by King Charles II.
Netscher worked elegantly and with a bit of French influence, exquisitely finished and influencing Dutch portraiture into the 18th century.
SIZE: 32 x 22.5 inches inc. frame
PROVENANCE: Private Collection, Surrey.
Private Collection, Cheshire.
This 'portrait de cabinet' (a painting for a small intimate room known as a cabinet) is a characteristic example of the international baroque style of which Netscher was a prime proponent; it elegantly exemplifies the artist's interest in depicting the luxurious.
The painting is as much a study of fine clothes and expensive textiles as it a portrayal of a lady. Netscher was particularly renowned for his skill in depicting white satin. The tactile and visual richness of the cloth is captured brilliantly, and seems to gleam with inviting realism contrasting with the fashionably pale skin of the sitter.
The lady gracefully rests an arm on a costly rug and looks invitingly at the viewer, a bowl of roses to her left (white for spiritual love, red for carnal) and a park in the background. Her serene composure complements the luxury of her attire and surroundings, unifying in the painting with a sense of extravagent beauty.
CASPAR NETSCHER(1639-84) was a Dutch portraitist of Holland's Golden Age of painting. In his early career at The Hague, where he settled in 1651, he also painted genre and religious scenes; but from c.1670 onwards he devoted himself exclusively to the portrait, often of Court members in The Hague, earning a considerable fortune. His reputation was so highly regarded that he was invited to England by King Charles II.
Netscher worked elegantly and with a bit of French influence, exquisitely finished and influencing Dutch portraiture into the 18th century.
SIZE: 32 x 22.5 inches inc. frame
PROVENANCE: Private Collection, Surrey.
Private Collection, Cheshire.
SOLD
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