Portrait of Louise de La Valliere; Follower ...
Item Ref
8906
Oil on canvas in a giltwood frame.
Based very closely on the 17th century portrait by Pierre Mignard (the only major difference being the left arm), this is an 18th century small scale portrait of one of the most famous lovers of Louis XIV.
The talented unknown artist has painted this portrait with a miniaturists skill; the detail is superb.
LOUISE DE LA VALLIERE (Françoise Louise de La Baume Le Blanc; 6 August 1644 – 7 June 1710) was a mistress of Louis XIV of France from 1661 to 1667. She later became the Duchess of La Vallière and Duchess of Vaujours in her own right.
Louise was born in Tours, the daughter of an officer, Laurent de La Baume Le Blanc (who took the name of La Vallière from a small estate near Amboise) and Françoise Le Provost. Laurent de La Vallière died in 1651; his widow remarried in 1655, to Jacques de Courtarvel, marquis de Saint-Rémy, and joined the court of Gaston, Duke of Orléans, at Blois.
Louise was brought up with the younger princesses (the future Grand Duchess of Tuscany, Duchess of Alençon, and Duchess of Savoy), the half-sisters of La Grande Mademoiselle. After the death of Gaston, Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them.
Louise had been at Fontainebleau only two months when she and Louis XIV fell in love, becoming the king's mistress. It was Louise's first serious attachment and she was reportedly an innocent, religious-minded girl who initially brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation; she wanted only the King's love. She bore the king five children.
By 1667 Louis had tired of her and taken other mistresses; after much pleading to the monarch she was finally permitted to enter the Carmelite convent in the Faubourg Saint-Jacques in Paris under the name of Sister Louise of Mercy. She died, a nun, in 1710.
PIERRE MIGNARD (1612-1695) was a member of a family of artists, he was a painter in the classical French Baroque manner, known primarily for his court portraits.
In 1635 Mignard left the studio of Simon Vouet for Italy, where he spent 22 years and made a reputation that brought him a summons to Paris in 1657. Successful with his portrait of Louis XIV and in favour with the court, Mignard pitted himself against Charles Le Brun; he declined to enter the French Royal Academy, of which Le Brun was the head, and he organized the opposition to its authority.
Mignard was chiefly active in portraiture; many of the beauties and celebrities of his day sat for him, including Molière, the Viscount de Turenne, Jacques Bossuet, the Marquise de Maintenon, the Marquise de Sévigné, the Duchesse de La Valliere and the Marquise de Montespan. His skilful technique and graceful arrangements are noteworthy.
SIZE: 19 x 15 inches inc. frame.
PROVENANCE: Norris Castle, Isle of Wight (see image 8)
Based very closely on the 17th century portrait by Pierre Mignard (the only major difference being the left arm), this is an 18th century small scale portrait of one of the most famous lovers of Louis XIV.
The talented unknown artist has painted this portrait with a miniaturists skill; the detail is superb.
LOUISE DE LA VALLIERE (Françoise Louise de La Baume Le Blanc; 6 August 1644 – 7 June 1710) was a mistress of Louis XIV of France from 1661 to 1667. She later became the Duchess of La Vallière and Duchess of Vaujours in her own right.
Louise was born in Tours, the daughter of an officer, Laurent de La Baume Le Blanc (who took the name of La Vallière from a small estate near Amboise) and Françoise Le Provost. Laurent de La Vallière died in 1651; his widow remarried in 1655, to Jacques de Courtarvel, marquis de Saint-Rémy, and joined the court of Gaston, Duke of Orléans, at Blois.
Louise was brought up with the younger princesses (the future Grand Duchess of Tuscany, Duchess of Alençon, and Duchess of Savoy), the half-sisters of La Grande Mademoiselle. After the death of Gaston, Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them.
Louise had been at Fontainebleau only two months when she and Louis XIV fell in love, becoming the king's mistress. It was Louise's first serious attachment and she was reportedly an innocent, religious-minded girl who initially brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation; she wanted only the King's love. She bore the king five children.
By 1667 Louis had tired of her and taken other mistresses; after much pleading to the monarch she was finally permitted to enter the Carmelite convent in the Faubourg Saint-Jacques in Paris under the name of Sister Louise of Mercy. She died, a nun, in 1710.
PIERRE MIGNARD (1612-1695) was a member of a family of artists, he was a painter in the classical French Baroque manner, known primarily for his court portraits.
In 1635 Mignard left the studio of Simon Vouet for Italy, where he spent 22 years and made a reputation that brought him a summons to Paris in 1657. Successful with his portrait of Louis XIV and in favour with the court, Mignard pitted himself against Charles Le Brun; he declined to enter the French Royal Academy, of which Le Brun was the head, and he organized the opposition to its authority.
Mignard was chiefly active in portraiture; many of the beauties and celebrities of his day sat for him, including Molière, the Viscount de Turenne, Jacques Bossuet, the Marquise de Maintenon, the Marquise de Sévigné, the Duchesse de La Valliere and the Marquise de Montespan. His skilful technique and graceful arrangements are noteworthy.
SIZE: 19 x 15 inches inc. frame.
PROVENANCE: Norris Castle, Isle of Wight (see image 8)
SOLD
SOLD....Portrait of a gentleman of the ...
Item Ref
8656
Oil on canvas in carved and giltwood 17th c. frame.
This charming naive portrait of a young gentleman and a warship poses some intriguing questions.
It dates from the end of the 17th century as is shown by the gentleman's clothing and the style of the stern of the vessel.
Painted on the stern, amongst the carved gilt 'gingerbreading', can be seen the coat of arms of the Rolt family.
The sitter gestures towards a pair of shipbuilder's dividers, a globe in the background.
The Pett family of Kent were famous shipbuilders for centuries and were cousins of the Rolt family of Bedfordshire, who were related to the Orlebars of Hinwick House, Bedfordshire.
This portrait hung for many years at Hinwick, but its true date, sitter and the name of the ship of the line depicted were all lost, and curiously it was said in the Hinwick House guide that the ship was Sir Francis Drake's Golden Hind and that the sitter was Sir Peter Pett, Master Shipwright to Elizabeth I.
There were four families of Petts involved with shipbuilding and sailing.
In the 17th century it was said of the family that they were "so knit together that the Devil himself could not discover them". 'The Command of the Ocean: A Naval History of Britain, 1649-1815' by N.A.M. Rodger.
Could this portrait commemorate the building of a ship of the line by a Pett for a Rolt? The vessel does carry the Rolt arms on its stern and it flies the long red pendant of a private ship of the Red Squadron of the Battle Fleet that was used in the second half of the 17th century, and the sitter points towards shipwright's dividers.
The painting hung at the time the guide was written in the Staircase Hall then, in recent times, on the west wall by the turret door.
VERSO: a fragmentary handwritten label in copperplate script:-
'Richard...........of.......owner.......builder......
Blackes....Richar.....should....................'
SIZE: 51 25 x 41.5 inches inc. frame.
PROVENANCE: Hinwick House, Bedfordshire.
This charming naive portrait of a young gentleman and a warship poses some intriguing questions.
It dates from the end of the 17th century as is shown by the gentleman's clothing and the style of the stern of the vessel.
Painted on the stern, amongst the carved gilt 'gingerbreading', can be seen the coat of arms of the Rolt family.
The sitter gestures towards a pair of shipbuilder's dividers, a globe in the background.
The Pett family of Kent were famous shipbuilders for centuries and were cousins of the Rolt family of Bedfordshire, who were related to the Orlebars of Hinwick House, Bedfordshire.
This portrait hung for many years at Hinwick, but its true date, sitter and the name of the ship of the line depicted were all lost, and curiously it was said in the Hinwick House guide that the ship was Sir Francis Drake's Golden Hind and that the sitter was Sir Peter Pett, Master Shipwright to Elizabeth I.
There were four families of Petts involved with shipbuilding and sailing.
In the 17th century it was said of the family that they were "so knit together that the Devil himself could not discover them". 'The Command of the Ocean: A Naval History of Britain, 1649-1815' by N.A.M. Rodger.
Could this portrait commemorate the building of a ship of the line by a Pett for a Rolt? The vessel does carry the Rolt arms on its stern and it flies the long red pendant of a private ship of the Red Squadron of the Battle Fleet that was used in the second half of the 17th century, and the sitter points towards shipwright's dividers.
The painting hung at the time the guide was written in the Staircase Hall then, in recent times, on the west wall by the turret door.
VERSO: a fragmentary handwritten label in copperplate script:-
'Richard...........of.......owner.......builder......
Blackes....Richar.....should....................'
SIZE: 51 25 x 41.5 inches inc. frame.
PROVENANCE: Hinwick House, Bedfordshire.
SOLD
SOLD....Portrait of a Lady c.1660 (possibly Anne ...
Item Ref
8397
Oil on canvas in reproduction frame of appropriate type and period.
A charming portrait of an attractive lady with a direct but modest gaze.
The artist strongly influenced by Mytens, especially in the rendering of the shimmering silk dress.
It is possible that this is Lady Anne Lindsay (born before 1638) who was the daughter of John Lindsay, 17th Earl of Crawford, and Lady Margaret Hamilton. She married John Leslie, 1st Duke of Rothes, and had two daughters.
The Duchess was a Presbyterian and favoured the doctrines of the Covenanters.
A portrait by David Scougall of the Duchess in later years exists.
(Our thanks to Aileen Munro-Cameron for help with the above)
JAN MYTENS (1614-1670) worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.
SIZE: 26 x 21 inches canvas size; 32 x 27 inches inc. frame.
Verso: three old labels.
PROVENANCE:
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection
A charming portrait of an attractive lady with a direct but modest gaze.
The artist strongly influenced by Mytens, especially in the rendering of the shimmering silk dress.
It is possible that this is Lady Anne Lindsay (born before 1638) who was the daughter of John Lindsay, 17th Earl of Crawford, and Lady Margaret Hamilton. She married John Leslie, 1st Duke of Rothes, and had two daughters.
The Duchess was a Presbyterian and favoured the doctrines of the Covenanters.
A portrait by David Scougall of the Duchess in later years exists.
(Our thanks to Aileen Munro-Cameron for help with the above)
JAN MYTENS (1614-1670) worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.
SIZE: 26 x 21 inches canvas size; 32 x 27 inches inc. frame.
Verso: three old labels.
PROVENANCE:
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection
SOLD
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SOLD.....Portrait of a Young Lady c. 1765; ...
Item Ref
8459
Oil on canvas in a good carved and giltwood frame, modern but of the correct 18th c. French style.
The sitter, a beautiful young French lady, is dressed in the height of fashion for an outdoor stroll. She leans on a stone balustrade whilst holding roses...the symbol of youth, beauty and love, but also a symbol of time and how quickly it passes.
One rose is still little more than a bud, as if to say that the girl has yet to bloom into her full mature beauty...time is still on her side.
The sitter looks confidently, almost provocatively, at the viewer; secure in her wealth and youth.
This is an attractive portrait extremely well painted...the treatment of the silks, lace and the youthful flesh tones are very accomplished.
FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.
SIZE: 34 x 30.5 inches inc. frame.
PROVENANCE: Private Collection.
The sitter, a beautiful young French lady, is dressed in the height of fashion for an outdoor stroll. She leans on a stone balustrade whilst holding roses...the symbol of youth, beauty and love, but also a symbol of time and how quickly it passes.
One rose is still little more than a bud, as if to say that the girl has yet to bloom into her full mature beauty...time is still on her side.
The sitter looks confidently, almost provocatively, at the viewer; secure in her wealth and youth.
This is an attractive portrait extremely well painted...the treatment of the silks, lace and the youthful flesh tones are very accomplished.
FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.
SIZE: 34 x 30.5 inches inc. frame.
PROVENANCE: Private Collection.
SOLD
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SOLD...Portrait of Catherine of Braganza, wife of ...
Item Ref
8455
Oil on canvas in a Late Georgian frame.
A good portrait of Catherine of Braganza; a version 'in little' by Lely's Studio or Circle of a larger painting by Lely.
An image of this painting can be seen at the Bridgeman Art Library, the portrait is now in a private collection.
Lely's original drawing for this portrait is in the Hermitage State Museum, Russia and can be viewed online at the Hermitage Digital Collection.
This richly decorated portrait of Charles II's queen is a fine example of Lely's ability to produce a vibrant yet functional courtly image. The material of the dress and the movement captured in the drapery as well the contrasting textures of carved gold and smooth silk are fine examples of the artistic mastery for which Lely was famous. As a royal portrait, this image and duplications of it would have been used by loyal followers of the Court who wished to demonstrate their allegiance.
Catherine of Braganza (1638–1705) was a Portuguese princess and Queen consort of Charles II of England, whom she married in 1662, bringing Tangier and Bombay as part of her dowry. The marriage was childless and she had to tolerate the king's numerous and blatant infidelities.
As a Roman Catholic, she was unpopular and there were attempts to implicate her in the 'Popish Plot'.
King Charles died in 1685 and in 1692 Catherine returned to Portugal, where she later died.
(Our thanks to Rita Wierzbicki for her help in identifying the sitter, formerly thought to be Barbara Villiers).
SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits.
SIZE: 36.5 x 33 inches framed
30.5 x 25.5 canvas size
18th c. frame has several damages.
PROVENANCE: Private Collection, London.
A good portrait of Catherine of Braganza; a version 'in little' by Lely's Studio or Circle of a larger painting by Lely.
An image of this painting can be seen at the Bridgeman Art Library, the portrait is now in a private collection.
Lely's original drawing for this portrait is in the Hermitage State Museum, Russia and can be viewed online at the Hermitage Digital Collection.
This richly decorated portrait of Charles II's queen is a fine example of Lely's ability to produce a vibrant yet functional courtly image. The material of the dress and the movement captured in the drapery as well the contrasting textures of carved gold and smooth silk are fine examples of the artistic mastery for which Lely was famous. As a royal portrait, this image and duplications of it would have been used by loyal followers of the Court who wished to demonstrate their allegiance.
Catherine of Braganza (1638–1705) was a Portuguese princess and Queen consort of Charles II of England, whom she married in 1662, bringing Tangier and Bombay as part of her dowry. The marriage was childless and she had to tolerate the king's numerous and blatant infidelities.
As a Roman Catholic, she was unpopular and there were attempts to implicate her in the 'Popish Plot'.
King Charles died in 1685 and in 1692 Catherine returned to Portugal, where she later died.
(Our thanks to Rita Wierzbicki for her help in identifying the sitter, formerly thought to be Barbara Villiers).
SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits.
SIZE: 36.5 x 33 inches framed
30.5 x 25.5 canvas size
18th c. frame has several damages.
PROVENANCE: Private Collection, London.
SOLD
SOLD....Portrait of Elizabeth Thorold, later Lady Widdrington; ...
Item Ref
8451a
17th century oil on canvas in a superb quality 18th century carved and giltwood frame; this is a work of art in its own right, the decoration exquisitely carved from wood.
The sitter holds a sprig of jasmine, which also comes through the stone aperture to her left; in the language of flowers white jasmine signifies an amiable nature and is famous for its heady, intoxicating scent.
Elizabeth Thorold (pronounced 'Thurrald') was the daughter of Sir Anthony Thorold of Marston and Blankney, High Sheriff of Lincolnshire in 1617 and his wife Elizabeth Molyneux of Haughton, Nottinghamshire.
The Thorolds were an ancient family of considerable standing with large estates. The Thorold Baronetcy of Marston was created on 24 August 1642 for William Thorold who fought for the Royalist cause in the Civil War.
As sole heir of Sir Anthony, Elizabeth was extremely wealthy and a very desirable marriage prospect.
She married Sir William Widdrington, 1st Baron Widdrington, and bore him eight children.
SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.
SIZE: 47.5 x 38 inches canvas.
57.5 x 48 inches inc. frame
PROVENANCE:
by descent in the Thorold family to John Thorold.
Removed from Syston Hall, nr. Grantham (demolished in 1923), one of the seats of the Thorolds.
VERSO: Old handwritten label - "Sir P. Lely, Painter.
Elizabeth Thorold, First Lady Widdrington. No. 3 Gallery".
A further inscription is on a gilt plaque attached to the frame: "Elizabeth Thorold daughter of Sir Anthony Thorold Knt. of Marston and Blankney. High Sheriff of Lincolnshire 1617; by Sir Peter Lely"
The sitter holds a sprig of jasmine, which also comes through the stone aperture to her left; in the language of flowers white jasmine signifies an amiable nature and is famous for its heady, intoxicating scent.
Elizabeth Thorold (pronounced 'Thurrald') was the daughter of Sir Anthony Thorold of Marston and Blankney, High Sheriff of Lincolnshire in 1617 and his wife Elizabeth Molyneux of Haughton, Nottinghamshire.
The Thorolds were an ancient family of considerable standing with large estates. The Thorold Baronetcy of Marston was created on 24 August 1642 for William Thorold who fought for the Royalist cause in the Civil War.
As sole heir of Sir Anthony, Elizabeth was extremely wealthy and a very desirable marriage prospect.
She married Sir William Widdrington, 1st Baron Widdrington, and bore him eight children.
SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.
SIZE: 47.5 x 38 inches canvas.
57.5 x 48 inches inc. frame
PROVENANCE:
by descent in the Thorold family to John Thorold.
Removed from Syston Hall, nr. Grantham (demolished in 1923), one of the seats of the Thorolds.
VERSO: Old handwritten label - "Sir P. Lely, Painter.
Elizabeth Thorold, First Lady Widdrington. No. 3 Gallery".
A further inscription is on a gilt plaque attached to the frame: "Elizabeth Thorold daughter of Sir Anthony Thorold Knt. of Marston and Blankney. High Sheriff of Lincolnshire 1617; by Sir Peter Lely"
SOLD
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SOLD...Portrait of an Officer of the 39th ...
Item Ref
8476
Oil on canvas in reproduction frame.
A good quality Victorian portrait of an officer of the 39th Foot, almost certainly a captain. His left hand rests on his sword hilt and he carries his shako; this is the Albert Pattern Shako which came into use in 1844 and was in use for eleven years. The white tufted ball on the shako was in use for two years from 1844-46 when it became white and red.
The 39th were in India in 1844 and had been for some years; the battalion came home to UK in 1847 and were initially stationed in Canterbury.
As the officer's shako decoration is the white ball discontinued in 1846, it seems most likely that this portrait was painted in India.
The officer is not wearing any medals, but the Battalion had taken part in the Battle of Maharajpore in 1843 for which a medal was awarded; however it is possible that they had not been presented when the painting was done.
Below is a list of the captains of the 39th at this time; the portrait is of one of them, but which one is not yet known:-
Henry Francis Stokes, Robert Newport Tinley, Arthur Herbert, Charles D Campbell, Henry Strachan, William Clarges Wolfe, Thomas Wright Hudson, Thomas Edward Willbraham, Edward Croker.
The 39th. Regiment of Foot was formed in 1702 and was the first regiment to serve in India, hence the motto 'Primus in Indis'.
In 1881 the 39th. Foot became the 1st. Battalion of the Dorset Regiment.
Our thanks to Nick Speakman, Researcher at The Keep Military Museum, Dorchester for his help with the above information.
SIZE: 26.5 x 22.25 inches inc. frame.
PROVENANCE: Private Collection, Canterbury, Kent.
A good quality Victorian portrait of an officer of the 39th Foot, almost certainly a captain. His left hand rests on his sword hilt and he carries his shako; this is the Albert Pattern Shako which came into use in 1844 and was in use for eleven years. The white tufted ball on the shako was in use for two years from 1844-46 when it became white and red.
The 39th were in India in 1844 and had been for some years; the battalion came home to UK in 1847 and were initially stationed in Canterbury.
As the officer's shako decoration is the white ball discontinued in 1846, it seems most likely that this portrait was painted in India.
The officer is not wearing any medals, but the Battalion had taken part in the Battle of Maharajpore in 1843 for which a medal was awarded; however it is possible that they had not been presented when the painting was done.
Below is a list of the captains of the 39th at this time; the portrait is of one of them, but which one is not yet known:-
Henry Francis Stokes, Robert Newport Tinley, Arthur Herbert, Charles D Campbell, Henry Strachan, William Clarges Wolfe, Thomas Wright Hudson, Thomas Edward Willbraham, Edward Croker.
The 39th. Regiment of Foot was formed in 1702 and was the first regiment to serve in India, hence the motto 'Primus in Indis'.
In 1881 the 39th. Foot became the 1st. Battalion of the Dorset Regiment.
Our thanks to Nick Speakman, Researcher at The Keep Military Museum, Dorchester for his help with the above information.
SIZE: 26.5 x 22.25 inches inc. frame.
PROVENANCE: Private Collection, Canterbury, Kent.
SOLD
SOLD....Portrait of Charles I in armour c.1640; ...
Item Ref
8843
Oil on oak panel in a rare and fine period carved auricular frame.
(The auricular style flowered in the 1640s and 1650s, and subsequently in the form of the Sunderland frame. Auricular, meaning literally 'of the ear', was a highly stylised free-flowing interpretation of organic forms, usually animal or marine in nature and was fashionable from the 1630s to the 1680s for pictures of all sizes).
One of the series of portraits after Van Dyck and Lely. By the reign of George III they were attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio. (see The Royal Collection).
This portrait is an excellent version of one of Van Dyck’s finest portraits of Charles I. The original, a full length, was painted c. 1638, and shows Charles in full armour, holding a commander’s baton, his hand resting on a sword, with a crown and helmet in the background. The best version is in the Hermitage in St Petersburg. The portrait became one of the most popular of Charles, especially during and after the Civil War, as Royalists sought images of the king as a military hero.
Difficult to date precisely, these reduced copies of van Dyck's works were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures, adorning the private walls of Royalist supporters. (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).
REMIGIUS VAN LEEMPUT,(1609?–1675), painter, born at Antwerp about 1609, was received into the Guild of St. Luke there in 1628–9. He came to England in Charles I's reign, and among other works for that king he made a small copy in oils of the famous painting by Holbein at Whitehall of Henry VII, Henry VIII, and their queens, which was afterwards destroyed by fire; Van Leemput's copy is now at Hampton Court. He was one of the purchasers at the sale of King Charles's collection, and among his purchases was the great picture of Charles I on horseback, by Van Dyck (now at Windsor), which was recovered from him with some difficulty at the Restoration. M. Remy or Remée, as he was usually called by his contemporaries, was a well-known and skilful copyist of pictures. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.
SIZE:panel 15 x 12 inches.
Framed size 21 x 17 inches.
PROVENANCE: Private Collection, London.
(The auricular style flowered in the 1640s and 1650s, and subsequently in the form of the Sunderland frame. Auricular, meaning literally 'of the ear', was a highly stylised free-flowing interpretation of organic forms, usually animal or marine in nature and was fashionable from the 1630s to the 1680s for pictures of all sizes).
One of the series of portraits after Van Dyck and Lely. By the reign of George III they were attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio. (see The Royal Collection).
This portrait is an excellent version of one of Van Dyck’s finest portraits of Charles I. The original, a full length, was painted c. 1638, and shows Charles in full armour, holding a commander’s baton, his hand resting on a sword, with a crown and helmet in the background. The best version is in the Hermitage in St Petersburg. The portrait became one of the most popular of Charles, especially during and after the Civil War, as Royalists sought images of the king as a military hero.
Difficult to date precisely, these reduced copies of van Dyck's works were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures, adorning the private walls of Royalist supporters. (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).
REMIGIUS VAN LEEMPUT,(1609?–1675), painter, born at Antwerp about 1609, was received into the Guild of St. Luke there in 1628–9. He came to England in Charles I's reign, and among other works for that king he made a small copy in oils of the famous painting by Holbein at Whitehall of Henry VII, Henry VIII, and their queens, which was afterwards destroyed by fire; Van Leemput's copy is now at Hampton Court. He was one of the purchasers at the sale of King Charles's collection, and among his purchases was the great picture of Charles I on horseback, by Van Dyck (now at Windsor), which was recovered from him with some difficulty at the Restoration. M. Remy or Remée, as he was usually called by his contemporaries, was a well-known and skilful copyist of pictures. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.
SIZE:panel 15 x 12 inches.
Framed size 21 x 17 inches.
PROVENANCE: Private Collection, London.
SOLD
SOLD....Double Portrait of a Lady and Child ...
Item Ref
8638
Oil on canvas (now mounted on board) in reproduction gilt frame.
An attractive and well painted double portrait of a mother and child painted in the Regency period; the mother, dressed very fashionably, looks out with a quiet pride.
Meanwhile the infant, rather touchingly, waves at the viewer from across the centuries. The fact that the identities of the sitters are unknown and we do not even know the gender of the child somehow renders the portrait more poignant.
The father of the child, husband of the lady, a legal gentleman, is also on this website, our ref: 8635.
RAMSAY RICHARD REINAGLE, (19 March 1775 - 17 November 1862) was an English portrait, landscape, and animal painter, and son of Philip Reinagle, he was a pupil of his father, whose style he followed. He exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters.
Reinagle exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823.
PLEASE NOTE: There is also similarity to the work of the American artist REMBRANDT PEALE (1778-1860). Peale was an artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Peale's style was influenced by French Neoclassicism after a stay in Paris in his early thirties.
SIZE: 40.75 x 39.75 inc. frame.
PROVENANCE: Private Collection, Somerset.
An attractive and well painted double portrait of a mother and child painted in the Regency period; the mother, dressed very fashionably, looks out with a quiet pride.
Meanwhile the infant, rather touchingly, waves at the viewer from across the centuries. The fact that the identities of the sitters are unknown and we do not even know the gender of the child somehow renders the portrait more poignant.
The father of the child, husband of the lady, a legal gentleman, is also on this website, our ref: 8635.
RAMSAY RICHARD REINAGLE, (19 March 1775 - 17 November 1862) was an English portrait, landscape, and animal painter, and son of Philip Reinagle, he was a pupil of his father, whose style he followed. He exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters.
Reinagle exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823.
PLEASE NOTE: There is also similarity to the work of the American artist REMBRANDT PEALE (1778-1860). Peale was an artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Peale's style was influenced by French Neoclassicism after a stay in Paris in his early thirties.
SIZE: 40.75 x 39.75 inc. frame.
PROVENANCE: Private Collection, Somerset.
SOLD
SOLD...Portrait of a Young Girl c.1670; Studio ...
Item Ref
8539
Oil on canvas in giltwood frame.
This beautiful portrait is of a girl of six or seven years of age; the child wears the white dress, blue robe and the headcloth traditionally associated with the Virgin Mary, and stands, hands gently touching as if in prayer, looking at the viewer with a serene confidence.
At a time when religion was a vitally important part of everyone's life this depiction of the sitter would be understood as showing not only the innocence and purity of the little girl but also expressing a hope that such virtues would remain with her and that she would be protected by God as she went through life.
Thus the image is not only a charming portrait of an attractive child but is also an insight into the mindset of the 17th century European.
PHILLIPPE DE CHAMAIGNE (born May 26, 1602, Brussels — died Aug. 12, 1674, Paris)
A Flemish-born French painter, he trained in Brussels, arriving in Paris in 1621. His patrons included Louis XIII, Marie de Médicis, and Cardinal Richelieu, and he became the outstanding French portraitist of the Baroque period.
His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet.
He was perhaps the greatest portrait painter of 17th-century France.
SIZE: canvas size 18¼ x 15 inches
25 x 22 inches inc. frame
PROVENANCE: English private collection
This beautiful portrait is of a girl of six or seven years of age; the child wears the white dress, blue robe and the headcloth traditionally associated with the Virgin Mary, and stands, hands gently touching as if in prayer, looking at the viewer with a serene confidence.
At a time when religion was a vitally important part of everyone's life this depiction of the sitter would be understood as showing not only the innocence and purity of the little girl but also expressing a hope that such virtues would remain with her and that she would be protected by God as she went through life.
Thus the image is not only a charming portrait of an attractive child but is also an insight into the mindset of the 17th century European.
PHILLIPPE DE CHAMAIGNE (born May 26, 1602, Brussels — died Aug. 12, 1674, Paris)
A Flemish-born French painter, he trained in Brussels, arriving in Paris in 1621. His patrons included Louis XIII, Marie de Médicis, and Cardinal Richelieu, and he became the outstanding French portraitist of the Baroque period.
His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet.
He was perhaps the greatest portrait painter of 17th-century France.
SIZE: canvas size 18¼ x 15 inches
25 x 22 inches inc. frame
PROVENANCE: English private collection
SOLD
SOLD....Portrait of Miss Harriet Tatnall "The Primrose ...
Item Ref
8617
Oil on canvas in superbly carved giltwood frame bearing plaque "The Primrose Girl. Miss Harriet Tatnall circa 1780. Sir William Beechey 1753-1839".
The little girl, dressed very fashionably, is out gathering primroses; in the background is a medieaval fortified manor house. This may represent Harriet's ancestral home as the Tatnalls were an ancient family. First found in Cheshire, they were Lords of the Manor of Tattenhall before and after the Norman Conquest of 1066.
SIR WILLIAM BEECHEY RA FSA (1753-1839). He was born in Burford, Oxfordshire; he entered the Royal Academy Schools in 1774. Many of his earlier portraits (c.1776-1786) are, like this one, small scale full-lengths and show a debt to his teacher, Zoffany.
After some years in London he moved to Norwich, then a very important city, where he enjoyed a good practice painting conversation pieces, and life size portraits from c.1783. He retiuned to London in 1787 and worked from Brook Street. he became extremely successful and moved to Hill Street, Berkeley Square, the to Hanover Square and ultimately to Harley Street.
He was elected an Associate of the Royal Academy in 1793, then RA in 1798 and was knighted in 1798 (the first artist to receive this honour since Reynolds).
Beechey was appointed Portrait Painter to Queen Charlotte in 1793 and by 1814 Portrait Painter to Her Majesty and to HRH the Duke of Gloucester.
SIZE: 38.5 x 32.75 inches inc. frame
canvas size 30 x 25 inches.
PROVENANCE: English Private Collection.
The little girl, dressed very fashionably, is out gathering primroses; in the background is a medieaval fortified manor house. This may represent Harriet's ancestral home as the Tatnalls were an ancient family. First found in Cheshire, they were Lords of the Manor of Tattenhall before and after the Norman Conquest of 1066.
SIR WILLIAM BEECHEY RA FSA (1753-1839). He was born in Burford, Oxfordshire; he entered the Royal Academy Schools in 1774. Many of his earlier portraits (c.1776-1786) are, like this one, small scale full-lengths and show a debt to his teacher, Zoffany.
After some years in London he moved to Norwich, then a very important city, where he enjoyed a good practice painting conversation pieces, and life size portraits from c.1783. He retiuned to London in 1787 and worked from Brook Street. he became extremely successful and moved to Hill Street, Berkeley Square, the to Hanover Square and ultimately to Harley Street.
He was elected an Associate of the Royal Academy in 1793, then RA in 1798 and was knighted in 1798 (the first artist to receive this honour since Reynolds).
Beechey was appointed Portrait Painter to Queen Charlotte in 1793 and by 1814 Portrait Painter to Her Majesty and to HRH the Duke of Gloucester.
SIZE: 38.5 x 32.75 inches inc. frame
canvas size 30 x 25 inches.
PROVENANCE: English Private Collection.
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
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