Portrait of Nicholas Lechmere Pateshall c.1815; Studio ...

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Oil on canvas in giltwood frame.
The young officer, Captain Lechmere Pateshall R.N., looks out proudly; his hair in the latest style, he wears the dress uniform of a post captain, with twin epaulettes and much gold lace, holding his sword and with his bicorne hat tucked beneath his right arm.
(An officer was 'made post' when he was first commissioned to command a rated vessel...that is, a ship too important to be commanded by a mere commander. Being 'made post' was the most crucial event in an officer's career.
A commander wore a single epaulette on the left shoulder; a post captain with less than three years seniority wore a single epaulette on the right shoulder, and a post captain with three years or more seniority wore an epaulette on each shoulder.)

NICHOLAS LECHMERE PATESHALL (1782 - 1854) was a member an old gentry family that traced its origins back to the Middle Ages. He was the fourth son of Edmund Lechmere Pateshall and his wife, Ann, daughter of William Burnam and was born at Allensmore, Herefordshire.

He was made a Royal Navy lieutenant in 1801 at the age of 19,and was appointed Master and Commander of HMS Reindeer in 1811.( Reindeer was an 18 gun brig-sloop, launched in 1804, captured and burnt in 1814 after a gallant and bloody fight with the USS Wasp, an American warship.)
In 1815 Pateshall was made Captain of HMS Polyphemus, a ship of the line of 64 guns that had been one of Nelson's fleet at the Battle of Trafalgar.
In this year the Napoleonic War that had ravaged Europe since 1799 finally came to an end with the French defeat at Waterloo.
Pateshall was posted in the London Gazette as 'Retired Captain of the Fleet' 1 September 1846, and in 1850 received notice from the Admiralty that, due to age and seniority, he needs no commission to become Retired Rear Admiral.
Pateshall died in 1854.

DOMENICO PELLIGRINI (1759 - 1840) was an Italian painter.
He completed his early studies in Venice and then Rome, where he was a pupil of Domenico Corvi. In 1792 he left for London, where he began attending the Royal Academy of Arts, encouraged by his friend and mentor Francesco Bartolozzi, to whom he dedicated a portrait.

He lived for a long time in the British capital where he worked and exhibited until 1812, during which time he exhibited 35 portraits at the Royal Academy.
In 1812 he moved to Lisbon, again on the advice of Bartolozzi, who already lived there.
After some time he returned to Italy, where he worked mainly in Rome and Milan.
He painted many British military officers including Admiral Jervis and the Duke of Wellington.
He died in Rome in 1840.

SIZE:37 x 32 inches inc. frame.
PROVENANCE: Estate of William T. Martin.
VERSO:two old inscriptions referring to the estate of William T. Martin as the donor of the portrait, plus an early 20th c. label for W. Freeman and Sons, Picture Restorers of Albemarle Place, London.

SOLD...Portrait of Catherine of Braganza, wife of ...

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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.

SOLD....Portrait of a Lady c.1660 (possibly Anne ...

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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.
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection

SOLD...Portrait of Sir John Potts, Baronet; Antwerp ...

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Oil on canvas in mid 17th c. style frame (19th c.)

The Antwerp School, numbering among its members Rubens, Van Dyck and Lievens, was renowned for its quality at a time when Flemish art was pre-eminent in Europe and extremely influential in England.
This painting, of remarkable sensitivity and insight, is by an artist as yet unidentified but unquestionably of great talent. The Potts family of Norfolk lived in Mannington Hall, a mid 15th c. moated manor house now owned by Lord and Lady Walpole.

SIZE: 43 x 37 inc. frame
PROVENANCE: The Bryan Hall Collection, Benningham Old Rectory, Norfolk.(Mr. Hall's collection, built up over 60 years, was acquired mainly from Country house sales of the great Norfolk families during the post war years.A photograph shows this painting hanging on the stairwell of the Old Rectory).
VERSO: Old hand written label 'Sir John Potts 2nd Baronet, age 25 c.1645(?). No. 30'. Old Christies stencil '59 5 LX' and a chalk inscription 'June 17 '59'..presumably the date acquired by Mr. Hall. Late 19th c. label of W. Boswell of London Street, Norwich 'Old Pictures Lined, Cleaned and Restored'

SOLD....Portrait of Elizabeth Brodie Stewart, Mrs. Westmacott ...

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Oil on canvas in ornate 19th c. frame.

This charming portrait of Elizabeth Stewart (Stuart) was painted in 1819 when she was 32 and married to Henry Westmacott. They were married on the 1st of May 1810 in St. George's, Hanover Square, London. Their union produced nine children.

Elizabeth was born on the 1st of October 1787 in Montrose, Scotland. Her father, Thomas, was the Town Clerk of Montrose and her mother, Elizabeth Guise had been born in Gibraltar in 1755.

Henry Westmacott was born on the 13th of October 1784 in Hanover Square, London. The Westmacott family were leading sculptors of funerary monuments in the 18th and 19th centuries and also specialised in carved chimney pieces and other forms of architectural sculpture.
Henry produced work at a young age, carving a marble monument to Henry Roberts at Swanscombe, Kent in 1796 when he was 12.
Thereafter he produced nearly 50 church monuments. Between 1806 and 1810 he did work in connection with John Flaxman's marble monument to Horatio, Admiral Viscount Nelson at St. Paul's Cathedral, London.
Henry died in 1861 aged 77.

The National Portrait Gallery has Thomas Phillip's sitter's book in which this portrait and that of her brother Captain Stewart are included (also on this website).

THOMAS PHILLIPS R.A. (1770-1845) was a leading English portrait painter. He painted many of the important and wealthy of the day including scientists, artists, writers, poets and explorers.
He was elected ARA 1804, RA in 1808, becoming Royal Academy Professor of Painting in 1825.
Phillips was a contemporary of Lawrence and offered a more subdued style based on his study of Old Masters. "His best works are full of character and show him to be in the top rank of portrait painters" (The Dictionary of Portrait Painters in Britain up to 1920.)

SIZE: 40.5 x 35.75 inches inc. frame
30 x 25 inches canvas size.
PROVENANCE: By family descent.
Deceased Estate, Dorset.
VERSO: Three handwritten labels including one tracing Elizabeth's descendants to the present day.


SOLD....Portrait of a Boy c.1730; attrib. to ...

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Oil on canvas in a very rare, finely carved Sutherland giltwood frame dating from the mid 17th century.

This is a superb quality painting of great elegance and style.

JOHN THEODORE HEINS (1697-1756), also known as Dietrich or Dirk, was born in Germany. He settled in Norwich (at that time a city second in importance only to London) in 1720.
He made a good living painting the local prosperous merchants and gentry and was accepted into their social circle. Whilst his paintings of aduts are extremely competent, his portraits of children are more engaging.
Many of his finer works were commissioned by the Astley family of Melton Constable.
His work is in Norwich Castle Museum, Felbrigg Hall (National Trust), the National Portrait Gallery, Cambridge University and others.

SOLD....Portrait of a Young Woman as Selene, ...

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Oil on canvas in modern giltwood frame, signed, bottom right, 'MULLER MELA.'

This exquisite portrait of a beautiful young woman depicts her as Selene, the Moon Goddess.

Shown in profile, with closed eyes, the sitter conveys a feeling of tranquility and an intriguing sense of both the erotic and the innocent.
Moonstones in her hair represent the stars, the gleaming robe of the Milky Way is around her and she holds a corn plant... vitally important as a constituent of bread - the staff of life. Corn also symbolised plenty.

In Greek mythology Selene was the daughter of Hyperion and Theia, the sister of Helios the Sun God and Eos the Dawn.
Selene, "the eternally beautiful", is one of the triple goddesses of the Moon: Artemis - the waxing moon, Selene - the full moon, and Hecate - the waning moon.

Selene is the mother goddess...a symbol of womanhood, and is represented by the full moon, where she is at the height of her reproductive potential.
Known to the Romans as Luna, she is responsible for the germination of seeds and new crops.
The days of the full and new moon were set aside for her worship.
The calenders and rituals of her worship helped people to measure time to know when it was best for planting and harvesting.

Appropriately for a goddess who represents the life force she was known for her many love affairs.
The moonstone is her gem and her colour is silver, grey white.

MELA (MELANIE) MULLER was born in Budapest in 1879 and died in 1933.
At the present there is little information available on this talented Hungarian painter and her works seem to be very rare.

SIZE: 33 x 29.5 inches inc. frame.
*Sold Sotheby's, lot 144, 4 May 1988.
*Hampshire Private Collection.


Portrait of Thomas Wright 1739: by John ...

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Oil on canvas in a fine quality carved and giltwood frame.

In 1949 Christie's stated that the portrait was signed and dated 1739, lower left, and in the entries in the two reference books mentioned below the same statement is made, and again stated in an old handwritten label verso. However, now only some faint marks can be seen.

This excellent portrait is typical of the best work of Heins. The sitter, Thomas Wright of Wighton, Norfolk, looks confidently out at the viewer, his tricorne hat held as if just removed to courteously greet us....the very model of a fashionably and expensively dressed gentleman of the early Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. Even so, Thomas has taken care to sweep back his coat to display the large quantities of silver lace on his silk waistcoat. His silver hilted sword, the mark of a gentleman, is also on discreet display.

Thomas married Anne, the daughter of the Reverend William Wilson, Rector of Stiffkey. Their daughter Anne married Captain Thomas Lee Warner of Walsingham.
Thomas Wright died in 1762, 23 years after Heins painted this portrait. His death was announced in 'The London Magazine, or, Gentleman's Monthly Intellegencer'.

JOHN THEODORE HEINS (1697-1756), also known as Dietrich or Dirk, was born in Germany. He settled in Norwich (at that time a city second in importance only to London) in 1720.
He made a good living painting the local prosperous merchants and gentry and was accepted into their social circle. His style was influenced by that of Thomas Hudson.
Many of his finer works were commissioned by the Astley family of Melton Constable.
Heins died in Norich and his will was proved 30 August 1756 by his widow, Abigail.
His son, also called John Theodore Heins was also a portraitist but lacked his father's talent.
Heins senior's work is in Norwich Castle Museum, Felbrigg Hall (National Trust), the National Portrait Gallery, Cambridge University and others.

SIZE: canvas 50 x 40 inches.

PROVENANCE: *Sold: Christie's, London 7 October 1949.
*The Collection of a Titled Lady, East Sussex.
*Collection of a Fellow of a Cambridge college.

*A photograph of this portrait appears on page 167 of 'The Dictionary of British 18th Century Painters' by Ellis Waterhouse, and also on page 242 of 'The Dictionary of Portrait Painters in Britain up to 1920' by Brian Stewart and Mervyn Cutten. See Image 5.

VERSO: old handwritten label: "Thomas Wright, Wighton, Norfolk. M. Anne dau. of Revd. Wm. Wilson, Rector of Stiffkey. Their daughter Anne married Capt. Thomas Lee Warner of Walsingham.
by Heins. signed."

SOLD....Portrait of a Royal Navy captain c.1810; ...

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Oil on unlined canvas in good quality original frame.

The officer wears a single epaulette on the right shoulder, the mark of a captain of less than three years seniority; the portrait was possibly painted to mark the promotion of this young man from lieutenant to captain.
His sword by his side, his right hand holds a telescope, whilst to his left is a cannon.

This sensitive yet bravura portrait of a young Royal Naval officer painted during the Napoleonic War is typical of Lawrence's dramatic style; the background a windswept cloudiness, the sense of incipient action and danger.
The artist has overcome the restrictions of the small scale of the portrait by infusing it with a dynamic movement - a sense of drama for dramatic times.

This is apparent in every aspect, from the turn of the sitter's neck and the tousled 'Classical Roman' hairstyle - all revealing the debt to, and interest in, Classical sculpture and form which defined the taste of the age. This is a memorable painting of a young naval officer whose chosen career was one of considerable danger at a time when the British Isles were in great peril.
There is an urgency to the image and the unspoken drama that the sitter conveys is intensified by the lowering, stormy sky, and the picture communicates a romantic sensibility that was very much the fashion.

SIR THOMAS LAWRENCE (1769-1830) was the most remarkable British portrait painter of his day. He became an Associate of the Royal Academy in 1791, Member in 1794 and President in 1820. In 1792 he was made Painter to the King. Lawrence's work epitomised the Regency style.

SIZE: 20 x 17.5 inches inc. frame.
*Jim Ecolme, York (label verso)
*Oxfordshire Private Collection.

Portrait of Mary, Lady Killigrew c.1637: Studio ...

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Oil on canvas, unframed.

Lady Killigrew here gazes out at the viewer directly. By the late 1630s, van Dyck seems to have devised for his female portraits a less specifically fashionable form of dress. Clearly the prestige of being painted by him was such that his sitters were prepared to accept this. Mary is shown in just such a gown – simplified, and minus the kind of richly textured lace that was so time-consuming to paint – and which has thus become a ‘timeless’ version of contemporary dress. It is clear that van Dyck had absorbed ideas from Venetian painters.
Van Dyck maintained a busy studio; he had a number of talented assistants to help meet the demand for his work. Working under his eye they would produce copies of his portraits if more than one was required.

MARY HILL (c.1610 -1686) was the daughter of John Hill of Honiley, Warwickshire. She married Sir William Killigrew, son of Sir Robert Killigrew and Mary Wodehouse, in 1626.
Sir William Killigrew (1606-1695) was a courtier to Charles I, and also later a playwright. Mary was a dresser to the queens Catherine of Braganza and Henrietta Maria.
William Killigrew was knighted by Charles I in May 1626 – probably shortly after his marriage to Mary Hill. They took a Grand Tour of Europe before Sir William was elected M.P. for Newport and Penryn in Cornwall, and appointed Governor of Pendennis castle and Falmouth Haven. He was made Gentleman Usher to King Charles I, studying with him at Oxford and commanding one of the horse troops that guarded the King during the Civil War.

The couple were to have seven children in all. As Royalists, the couple were forced by poverty to live apart during the Civil War and Commonwealth period. They were re-united at the Restoration of the Stuart monarchy in 1660, when Sir William regained his earlier court post and Lady Mary became dresser to the dowager Queen Henrietta-Maria.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic Royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE:29.5 x 24.5 inches.
PROVENANCE: With Philip Mould (Historical Portraits).
Private Collection.

SOLD....Portrait of Mary Dowdeswell c.1695; by Michael ...

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Oil on canvas in feigned oval within rare William Kent architectural carved and gilt frame c.1740, the sides decorated with finely carved oakleaves and acorns. The reverse of the frame bears old dealer's labels with the name of the sitter, the provenance and an erroneous attribution to Highmore.

The DOWDESWELLS are an old Gloucestershire family where they lived at Pull Court near Tewksbury from the 15th to the 19th century.
In the 19th c. the house was sold and is now a school.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
At his best he was a finer portraitist than any of his contemporaries, with a softer and more gentle technique than Kneller's, which was especially suitable for his portraits of women.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here Mary looks out at the viewer with a quiet and intelligent good humour...in every way this is a superb painting.

Size: 35.25 x 26.75 inches canvas size.
43 x 34.75 inches inc. frame.

Provenance: by descent through the Dowdeswell family of Pull Court.
with Frost and Reed of St. James's, London.
with Anderson Galleries, Chicago.
American Private Collection.
(Verso: old dealer's labels).


SOLD....Portrait of 'Miss Penelope Johnson' c. 1775, ...

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Oil on canvas in 18th c carved and giltwood frame

An excellent portrait of Penelope Johnson, an attractive and fashionably dressed young lady, painted c.1775 by Thomas Hickey.
The sitter is within a feigned oval and in the background is a large country house in its estate; an elaborate bridge is visible to the foreground.

THOMAS HICKEY (1741 - 1824) was born in Dublin, he studied under Benjamin West at Dublin Society Schools 1753-6, winning prizes.
He travelled to Italy c.1760-6, returning to Dublin in 1767 where he exhibited 1768-70.
He moved to London and entered the Royal Academy Schools in 1771, exhibiting at the RA 16 times between 1772 and 1792.

In 1778 Hickey was working in Bath then embarked for India in 1780, but the ship was captured by the French en route and he was released at Cadiz. He proceeded by land to Lisbon, where he worked successfully 1782-4 before continuing on to India, arriving in Bengal in 1784. He took a large, handsome house in the most fashionable part of Calcutta and established a thriving business.

Hickey returned to England in June 1791; he was portrait painter to Lord Macartney's expedition to China 1792-4. Probably in Dublin in 1796, returning to India in 1798, where he had a successful portrait practice until his death; he was buried in Madras 20 May 1824.

Examples of Hickey's work are in the major public collections.

SIZE: 37 x 32 inches inc. frame.

PROVENANCE: a London Private Collection