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Portrait of a Gentleman c.1780, attributed to ...
Item Ref
8454
SOLD....Oil on oval canvas in Georgian carved wood frame.
A charming small portrait of a young gentleman holding what is probably a riding crop.
This is Alleyne's favourite size of canvas.
FRANCIS ALLEYNE (working 1774 - 1790).
Alleyne was an itinerant portrait painter visiting country houses mainly in the south-east of England. He specialised in small, oval three-quarter lengths; these are often highly sensitive and of considerable charm.
Alleyne's portraits are often, but not always, signed on the back. This one is not.
He exhibited at the Royal Academy in 1774 and at the Society of Artists in 1790.
SIZE: 17.25 x 14.25 inches framed
15 x 12 inches canvas size.
PROVENANCE: a private South-East England collection.
A charming small portrait of a young gentleman holding what is probably a riding crop.
This is Alleyne's favourite size of canvas.
FRANCIS ALLEYNE (working 1774 - 1790).
Alleyne was an itinerant portrait painter visiting country houses mainly in the south-east of England. He specialised in small, oval three-quarter lengths; these are often highly sensitive and of considerable charm.
Alleyne's portraits are often, but not always, signed on the back. This one is not.
He exhibited at the Royal Academy in 1774 and at the Society of Artists in 1790.
SIZE: 17.25 x 14.25 inches framed
15 x 12 inches canvas size.
PROVENANCE: a private South-East England collection.
SOLD
Pair of Portraits of Two Girls of ...
Item Ref
8931
Both small oil on canvas in carved and giltwood frames, bearing the name plate 'Sir Peter Lely'
The two sitters are most likely members of the Howard of Effingham family.
The Howard family is an English aristocratic family founded by John Howard who was created Duke of Norfolk (3rd creation) by Plantagenet monarch Richard III of England in 1483. However, John was also the eldest (although maternal) grandson of the 1st Duke of 1st creation. The Howards have been part of the peerage since the 15th century and remain the Premier Dukes of the Realm in the Peerage of England, acting as Earl Marshal of England.
William Howard, 1st Baron Howard of Effingham (c. 1510 – 12 January 1573), was the founder of the Effingham branch of the family, he was the eldest son of Thomas Howard, 2nd Duke of Norfolk by his second wife, Agnes Tilney. Howard served four monarchs, Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, in various official capacities, most notably on diplomatic missions and as Lord Admiral and Lord Chamberlain of the Household.
REMIGIUS VAN LEEMPUT (1609?-1675) was a highly accomplished painter working in seventeenth century England, and a celebrated small scale copyist of the works of Sir Anthony Van Dyck (1599-1641) and Sir Peter Lely (1618-80).
Leemput was baptised in Antwerp in 1607 and by 1635 was living in Covent Garden, London, which is when, perhaps, he began working in the studio of Van Dyck, who arrived in England three years earlier. Very little is known about the pupils who trained and worked with Van Dyck, although it is generally acknowledged that Leemput was employed to assist with the preliminary development of his works and also as a copyist. 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: 16 x 13 inches inc. frame.
PROVENANCE: Private Collection, a Northamptonshire Country House.
Verso: an old, handwritten label , badly torn " No.1 .....Howard..Daught(er?) ..Lord Effingham Howard. Sir P.Lely'. Both paintings bear the chalk inscription 'Hemsley'.
The two sitters are most likely members of the Howard of Effingham family.
The Howard family is an English aristocratic family founded by John Howard who was created Duke of Norfolk (3rd creation) by Plantagenet monarch Richard III of England in 1483. However, John was also the eldest (although maternal) grandson of the 1st Duke of 1st creation. The Howards have been part of the peerage since the 15th century and remain the Premier Dukes of the Realm in the Peerage of England, acting as Earl Marshal of England.
William Howard, 1st Baron Howard of Effingham (c. 1510 – 12 January 1573), was the founder of the Effingham branch of the family, he was the eldest son of Thomas Howard, 2nd Duke of Norfolk by his second wife, Agnes Tilney. Howard served four monarchs, Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, in various official capacities, most notably on diplomatic missions and as Lord Admiral and Lord Chamberlain of the Household.
REMIGIUS VAN LEEMPUT (1609?-1675) was a highly accomplished painter working in seventeenth century England, and a celebrated small scale copyist of the works of Sir Anthony Van Dyck (1599-1641) and Sir Peter Lely (1618-80).
Leemput was baptised in Antwerp in 1607 and by 1635 was living in Covent Garden, London, which is when, perhaps, he began working in the studio of Van Dyck, who arrived in England three years earlier. Very little is known about the pupils who trained and worked with Van Dyck, although it is generally acknowledged that Leemput was employed to assist with the preliminary development of his works and also as a copyist. 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: 16 x 13 inches inc. frame.
PROVENANCE: Private Collection, a Northamptonshire Country House.
Verso: an old, handwritten label , badly torn " No.1 .....Howard..Daught(er?) ..Lord Effingham Howard. Sir P.Lely'. Both paintings bear the chalk inscription 'Hemsley'.
SOLD
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SOLD...Portrait of a Lady c.1628; attributed to ...
Item Ref
8398
Oil on oak panel in fine 18th c. carved and giltwood frame.
A superb portrait typical of de Vos's style, the brushwork detailed, sensitive and rich in nuances, his colouring is ardent and full-bodied in the Flemish manner. His portraits glow with an air of prosperity and well-being.
De Vos was well-known for dignified portraits which nevertheless maintain a charming modesty, as is seen here. The reserved expression of the sitter and meticulous handling of the costume details are characteristic.
CORNELIS DE VOS (1585 - 1651) was admitted as a Master of the Antwerp Guild in 1606. In the early 17th century Antwerp was crowded with excellent painters. The art-loving wealthy merchants of the great trading city were able to employ a sizeable population of artists, who were also kept busy by the foreign demand for works of art from Antwerp.
Cornelis de Vos became one of the most respected artists in the city, whilst also active as an art dealer.
He worked with Rubens and Van Dyck, and his work has been mistaken for theirs, although his portraits are more closely dependent on the Flemish tradition than his celebrated Italianate colleagues.
Essentially of the School of Rubens, de Vos's portraits developed an individual and successful style and Rubens sent many sitters to him.
SIZE: 30 x 26 inc. frame.
PROVENANCE:
Verso: an old collection seal in red wax, probably 18th century.
Private Collection, Cornwall.
Boarsney House, Sussex.
A superb portrait typical of de Vos's style, the brushwork detailed, sensitive and rich in nuances, his colouring is ardent and full-bodied in the Flemish manner. His portraits glow with an air of prosperity and well-being.
De Vos was well-known for dignified portraits which nevertheless maintain a charming modesty, as is seen here. The reserved expression of the sitter and meticulous handling of the costume details are characteristic.
CORNELIS DE VOS (1585 - 1651) was admitted as a Master of the Antwerp Guild in 1606. In the early 17th century Antwerp was crowded with excellent painters. The art-loving wealthy merchants of the great trading city were able to employ a sizeable population of artists, who were also kept busy by the foreign demand for works of art from Antwerp.
Cornelis de Vos became one of the most respected artists in the city, whilst also active as an art dealer.
He worked with Rubens and Van Dyck, and his work has been mistaken for theirs, although his portraits are more closely dependent on the Flemish tradition than his celebrated Italianate colleagues.
Essentially of the School of Rubens, de Vos's portraits developed an individual and successful style and Rubens sent many sitters to him.
SIZE: 30 x 26 inc. frame.
PROVENANCE:
Verso: an old collection seal in red wax, probably 18th century.
Private Collection, Cornwall.
Boarsney House, Sussex.
SOLD
Portrait of William Stanhope, 1st Earl of ...
Item Ref
8645
Oil on canvas in good carved and giltwood 18th c. frame.
This fine painting, the earliest known likeness of Harrington, is illustrated in the National Portrait Gallery's publication of 1977 'Early Georgian Portraits' (p.135, plate 362 (see image 5) as attributed to Kneller, present location unknown.
Philip Mould OBE, Mayfair portrait specialist and star of TV's 'Fake or Fortune', reattributed this portrait to Richardson when it was in his possession.
"A number of portraits were produced after the sitter's elevation to the peerage in 1730 but the only one prior to that must be of the young-looking man in armour sold from the family collection, Sotheby's, 19 February 1964, lot 20".
This fresh and lively portrait is a fine example of Richardson's work and shows why Sir Roy Strong in his book 'The British Portrait' describes the artist as "the ablest of the painters who came to prominence during the last decade of Kneller's life and who flourished after his death".
WILLIAM STANHOPE, 1st EARL OF HARRINGTON (1683? - 1756).
Stanhope’s early career saw his greatest achievements. After a spell in the army from 1710 to 1715, Stanhope was appointed plenipotentiary to Madrid. The Spanish had not yet come to terms with their declining power, and Stanhope’s task was made almost impossible by the ineptitude of the Spanish Government.
During the outbreak of war between Spain and England during the War of the Quadruple Alliance (1718-1720), he fought a number of successful engagements, most notably as a volunteer with the French army where he commanded a raid on Spanish ships in the port of St Andero.
After the war, Stanhope returned to Madrid as ambassador. He achieved a notable coup in 1726, when the disgraced Spanish first Minister, Baron Ripperda, fled to Stanhope’s house and revealed Spain’s plans for an invasion of England. In 1727 Harrington was deputed as the British plenipotentiary to the congress of Aix-la-Chappelle, for which work he was created Lord Harrington in 1730. In the same year he became Secretary of State for the Northern Department. In 1746 he was appointed Viceroy of Ireland.
JONATHAN RICHARDSON (1665–1745), sometimes called "the Elder" to distinguish him from his son, was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.
Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.
In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.
SIZE: 37.5 x 32.5 inches inc. frame.
PROVENANCE:
By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.
LITERATURE:
John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.
This fine painting, the earliest known likeness of Harrington, is illustrated in the National Portrait Gallery's publication of 1977 'Early Georgian Portraits' (p.135, plate 362 (see image 5) as attributed to Kneller, present location unknown.
Philip Mould OBE, Mayfair portrait specialist and star of TV's 'Fake or Fortune', reattributed this portrait to Richardson when it was in his possession.
"A number of portraits were produced after the sitter's elevation to the peerage in 1730 but the only one prior to that must be of the young-looking man in armour sold from the family collection, Sotheby's, 19 February 1964, lot 20".
This fresh and lively portrait is a fine example of Richardson's work and shows why Sir Roy Strong in his book 'The British Portrait' describes the artist as "the ablest of the painters who came to prominence during the last decade of Kneller's life and who flourished after his death".
WILLIAM STANHOPE, 1st EARL OF HARRINGTON (1683? - 1756).
Stanhope’s early career saw his greatest achievements. After a spell in the army from 1710 to 1715, Stanhope was appointed plenipotentiary to Madrid. The Spanish had not yet come to terms with their declining power, and Stanhope’s task was made almost impossible by the ineptitude of the Spanish Government.
During the outbreak of war between Spain and England during the War of the Quadruple Alliance (1718-1720), he fought a number of successful engagements, most notably as a volunteer with the French army where he commanded a raid on Spanish ships in the port of St Andero.
After the war, Stanhope returned to Madrid as ambassador. He achieved a notable coup in 1726, when the disgraced Spanish first Minister, Baron Ripperda, fled to Stanhope’s house and revealed Spain’s plans for an invasion of England. In 1727 Harrington was deputed as the British plenipotentiary to the congress of Aix-la-Chappelle, for which work he was created Lord Harrington in 1730. In the same year he became Secretary of State for the Northern Department. In 1746 he was appointed Viceroy of Ireland.
JONATHAN RICHARDSON (1665–1745), sometimes called "the Elder" to distinguish him from his son, was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.
Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.
In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.
SIZE: 37.5 x 32.5 inches inc. frame.
PROVENANCE:
By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.
LITERATURE:
John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.
SOLD
SOLD....Portrait of Capt. Charles Beague St.John Mildmay ...
Item Ref
8694
Oil on canvas in excellent gilded period frame.
This portrait comes with his sword, shown in the painting, and three framed photographs of the sitter in later life.
This is a fine military portrait by an artist as yet unknown, although the influence of Sir Francis Grant P.R.A. can be seen.
Captain St.John Mildmay wears dress uniform, which is still worn by The Royal Horse Artillery on state occasions.
CHARLES BEAGUE ST.JOHN MILDMAY (1861-1923) was the oldest surviving son of Arthur George St.John Mildmay (1824-1883) and his wife Charlotte (nee Beague).
The St.John, Mildmay and Beague families were all old ones, with a history of service to the country...military and political.
Charles married a kinswoman, Evelyn Augusta St.John Mildmay in 1892. She was the daughter of Capt. Edmund Henry St.John Mildmay, late of the 5th Radetzky Hussars in the Austrian Imperial Service; he became Equerry to H.R.H. the Duke of Cambridge.
Charles and Evelyn had two daughters, Dorothy and Letitia.
Charles served with the Royal Artillery, the Royal Horse Artillery and the 4th Bttn. of the Somerset Light Infantry. He saw service in the Boer War 1900-01, becoming a major (Hon) in 1908, presumably upon his retirement.
The photographs (see Image 4) show him wearing a campaign medal, probably from the Boer War.
Also in Image 4 can be seen his sword; an 1821 pattern Artillery officers sword by Wilkinson of Pall Mall, London.
Numbered 23530, the sword was made c.1880 which would have been when Mildmay was a lieutenant.
The blade bears the Royal Coat of Arms for Queen Victoria over the Royal Artillery motto 'Ubique'. On the other side there are winged thunderbolts, Royal Artillery, scrolling foliage and two heraldic crests...the lion of Mildmay and the falcon of St. John.
It is often forgotten that officers of the artillery were 'front line' troops through the Victorian period, as the science of indirect fire (engaging targets out of direct line of sight) was only really developed in World War I. Thus an officer's sword was far more than a dress piece, and could on occasion be called upon to save his life.
SIZE: 64 x 42 inches inc. frame.
PROVENANCE: by descent in the St.John Mildmay family formerly of Hollam House, Dulverton, Somerset. The St.John Mildmays owned Hollam for hundreds of years, Sir Walter St.John Mildmay was the last to live there in the 1990s. (Image 5)
This portrait comes with his sword, shown in the painting, and three framed photographs of the sitter in later life.
This is a fine military portrait by an artist as yet unknown, although the influence of Sir Francis Grant P.R.A. can be seen.
Captain St.John Mildmay wears dress uniform, which is still worn by The Royal Horse Artillery on state occasions.
CHARLES BEAGUE ST.JOHN MILDMAY (1861-1923) was the oldest surviving son of Arthur George St.John Mildmay (1824-1883) and his wife Charlotte (nee Beague).
The St.John, Mildmay and Beague families were all old ones, with a history of service to the country...military and political.
Charles married a kinswoman, Evelyn Augusta St.John Mildmay in 1892. She was the daughter of Capt. Edmund Henry St.John Mildmay, late of the 5th Radetzky Hussars in the Austrian Imperial Service; he became Equerry to H.R.H. the Duke of Cambridge.
Charles and Evelyn had two daughters, Dorothy and Letitia.
Charles served with the Royal Artillery, the Royal Horse Artillery and the 4th Bttn. of the Somerset Light Infantry. He saw service in the Boer War 1900-01, becoming a major (Hon) in 1908, presumably upon his retirement.
The photographs (see Image 4) show him wearing a campaign medal, probably from the Boer War.
Also in Image 4 can be seen his sword; an 1821 pattern Artillery officers sword by Wilkinson of Pall Mall, London.
Numbered 23530, the sword was made c.1880 which would have been when Mildmay was a lieutenant.
The blade bears the Royal Coat of Arms for Queen Victoria over the Royal Artillery motto 'Ubique'. On the other side there are winged thunderbolts, Royal Artillery, scrolling foliage and two heraldic crests...the lion of Mildmay and the falcon of St. John.
It is often forgotten that officers of the artillery were 'front line' troops through the Victorian period, as the science of indirect fire (engaging targets out of direct line of sight) was only really developed in World War I. Thus an officer's sword was far more than a dress piece, and could on occasion be called upon to save his life.
SIZE: 64 x 42 inches inc. frame.
PROVENANCE: by descent in the St.John Mildmay family formerly of Hollam House, Dulverton, Somerset. The St.John Mildmays owned Hollam for hundreds of years, Sir Walter St.John Mildmay was the last to live there in the 1990s. (Image 5)
SOLD
Portrait of Johanna Warner 1753 by Francis ...
Item Ref
8834
Oil on canvas in the original fine quality carved and giltwood frame.
The sitter is painted within a feigned oval bearing the inscription 'Johanna Warner Uxor/Nata 1706' (Johanna Warner, Married, born 1706) and signed 'F.M. Newton Pinx./1753' (F.M. Newton painted this in 1753).
Johanna was the wife of Robert Warner of Bedhampton, Hampshire; she was born in 1706.
A portrait of Johanna and her daughter Kitty was painted by Joseph Highmore in 1736 (See Image 9) and is at Mottisfont Abbey in Hampshire. The connection is that Kitty married a Jervoise Clarke Jervoise and in the 20th century Michael Jervoise-Ckarke bequeathed this and other family portraits to the National Trust. Kitty died in 1772.
FRANCIS MILNER NEWTON RA (London 1720 – 14 August 1794 London) was an English portrait painter and first Secretary of the Royal Academy.
He became a pupil of Marcus Tuscher, a German artist living in England, and was also a student at Hogarth's St Martin's Lane Academy.
In 1768 a group of artists formed themselves into a new society, and by obtaining the patronage of King George III, brought about the foundation of the Royal Academy of Arts, under the presidency of Sir Joshua Reynolds. Newton was elected their first Secretary, a post he held until his resignation in 1788.
He exhibited eight portraits at the academy between 1769 and 1774. His address is given in the catalogues as Mortimer Street in the first year, and Portland Street after that date.
Newton lived at Hammersmith in West London for some years, until inheriting Barton Grange, a property at Corfe belonging to his mother's family, where he lived for the rest of his life. He died there on 14 August 1794, and was buried at Corfe. He left one child, Josepha Sophia.
SIZE:38.5 x 33.75 inches inc. frame.
Canvas size: 30 x 25.25 inches.
PROVENANCE: By family descent.
The sitter is painted within a feigned oval bearing the inscription 'Johanna Warner Uxor/Nata 1706' (Johanna Warner, Married, born 1706) and signed 'F.M. Newton Pinx./1753' (F.M. Newton painted this in 1753).
Johanna was the wife of Robert Warner of Bedhampton, Hampshire; she was born in 1706.
A portrait of Johanna and her daughter Kitty was painted by Joseph Highmore in 1736 (See Image 9) and is at Mottisfont Abbey in Hampshire. The connection is that Kitty married a Jervoise Clarke Jervoise and in the 20th century Michael Jervoise-Ckarke bequeathed this and other family portraits to the National Trust. Kitty died in 1772.
FRANCIS MILNER NEWTON RA (London 1720 – 14 August 1794 London) was an English portrait painter and first Secretary of the Royal Academy.
He became a pupil of Marcus Tuscher, a German artist living in England, and was also a student at Hogarth's St Martin's Lane Academy.
In 1768 a group of artists formed themselves into a new society, and by obtaining the patronage of King George III, brought about the foundation of the Royal Academy of Arts, under the presidency of Sir Joshua Reynolds. Newton was elected their first Secretary, a post he held until his resignation in 1788.
He exhibited eight portraits at the academy between 1769 and 1774. His address is given in the catalogues as Mortimer Street in the first year, and Portland Street after that date.
Newton lived at Hammersmith in West London for some years, until inheriting Barton Grange, a property at Corfe belonging to his mother's family, where he lived for the rest of his life. He died there on 14 August 1794, and was buried at Corfe. He left one child, Josepha Sophia.
SIZE:38.5 x 33.75 inches inc. frame.
Canvas size: 30 x 25.25 inches.
PROVENANCE: By family descent.
SOLD
SOLD....'The Shepherdess of the Alps' by Thomas ...
Item Ref
8385
Oil on canvas in 18th c. giltwood frame (probably the original), 19th c. strengthening to the back.
Thomas Gaugain (c.1756-c.1805) was born in Abbeville, France. Moving to England, he entered the RA Schools in 1771; he exhibited at the Royal Academy seven times between 1778 and 1782 (this painting was exhibited in 1779).
Gaugain became very successful with his portraits and fashionable paintings of the latest novels and plays; he also created engravings for those who could not afford an original (Hogarth had done the same).
This charming image illustrates a scene from Marmontel's play 'The Shepherdess of the Alps' which became the rage in England and France and inspired many paintings and prints. It tells the tragic story of a forbidden love affair between two young French aristocrats. In spite of their family's objections Adelaide and her lover, the Count d'Orestan, run away together; but their happiness is short lived when the count tragically dies.
A grief stricken Adelaide renounces the world and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.
Size: framed 31.75 x 38.5 inches
unframed: 25 x 31.5 inches
Provenance:
Verso; an early 20th c. label from the famous dealer Roger Warner of Burford whose collection once held this painting:-
'I am of course prepared to assure your client positively that his Gaugain is an original and not a copy. Apart from the fact that I am not quite unknown myself in connection with such matters, in the course of the last few years it has been seen by a considerable number of well-known authorities in my house.....Humphrey Brooke, Secretary of the R.A. expressed the view to me that it should have been included on the Exhibition of the First 100 Years of the R.A. It is both painted and engraved by Gaugain'.
A Cheltenham Private Collection
NOTE: PRICE DOES NOT INCLUDE SHIPPING
Thomas Gaugain (c.1756-c.1805) was born in Abbeville, France. Moving to England, he entered the RA Schools in 1771; he exhibited at the Royal Academy seven times between 1778 and 1782 (this painting was exhibited in 1779).
Gaugain became very successful with his portraits and fashionable paintings of the latest novels and plays; he also created engravings for those who could not afford an original (Hogarth had done the same).
This charming image illustrates a scene from Marmontel's play 'The Shepherdess of the Alps' which became the rage in England and France and inspired many paintings and prints. It tells the tragic story of a forbidden love affair between two young French aristocrats. In spite of their family's objections Adelaide and her lover, the Count d'Orestan, run away together; but their happiness is short lived when the count tragically dies.
A grief stricken Adelaide renounces the world and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.
Size: framed 31.75 x 38.5 inches
unframed: 25 x 31.5 inches
Provenance:
Verso; an early 20th c. label from the famous dealer Roger Warner of Burford whose collection once held this painting:-
'I am of course prepared to assure your client positively that his Gaugain is an original and not a copy. Apart from the fact that I am not quite unknown myself in connection with such matters, in the course of the last few years it has been seen by a considerable number of well-known authorities in my house.....Humphrey Brooke, Secretary of the R.A. expressed the view to me that it should have been included on the Exhibition of the First 100 Years of the R.A. It is both painted and engraved by Gaugain'.
A Cheltenham Private Collection
NOTE: PRICE DOES NOT INCLUDE SHIPPING
SOLD
Portrait of Ann Wells, later Duchess of ...
Item Ref
8832
Oil on canvas in good quality 18th century carved and giltwood frame.
The sitter, expensively dressed and with very fine quality lace on her cap, pats her dog as it jumps up.
Although the animal was probably her pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.
An old label, verso, (now lost) identified the sitter as Ann Wells (1709-1759) daughter of John and Sarah Wells of Brasted Park, Kent, baptised in 1709.
This is probably the Ann Wells who married, secondly, Henry Brydges, 2nd Duke of Chandos at Mr. Keith's Chapel, Mayfair. (Image 7 shows Ann when Duchess).
The Duke held the office of Member of Parliament for Hereford; he was Master of the Horse to HRH The Prince of Wales and was invested as a Knight, Order of the Bath on 12 January 1731.
The Duke was also 5th Baronet Brydges, 10th Baron Chandos of Sudeley, 2nd Earl of Carnarvon, 2nd Viscount Wilton and 2nd Marquess of Carnarvon.
King George II remarked "there is my Lord Carnarvon, a hot headed, passionate, half-witted coxcomb."
Ann, Duchess of Chandos, died 9 August 1759 at Keynsham Abbey, Somerset without male issue. She was buried at St. Lawrence, Whitchurch, London as was the Duke in 1771.
SIZE: canvas 29 x 22 inches.
37 x 30 inches inc. frame.
PROVENANCE: Oxfordshire Private Collection for many years.
VERSO: old labels for the art dealers Agnews and Ryman.
The sitter, expensively dressed and with very fine quality lace on her cap, pats her dog as it jumps up.
Although the animal was probably her pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.
An old label, verso, (now lost) identified the sitter as Ann Wells (1709-1759) daughter of John and Sarah Wells of Brasted Park, Kent, baptised in 1709.
This is probably the Ann Wells who married, secondly, Henry Brydges, 2nd Duke of Chandos at Mr. Keith's Chapel, Mayfair. (Image 7 shows Ann when Duchess).
The Duke held the office of Member of Parliament for Hereford; he was Master of the Horse to HRH The Prince of Wales and was invested as a Knight, Order of the Bath on 12 January 1731.
The Duke was also 5th Baronet Brydges, 10th Baron Chandos of Sudeley, 2nd Earl of Carnarvon, 2nd Viscount Wilton and 2nd Marquess of Carnarvon.
King George II remarked "there is my Lord Carnarvon, a hot headed, passionate, half-witted coxcomb."
Ann, Duchess of Chandos, died 9 August 1759 at Keynsham Abbey, Somerset without male issue. She was buried at St. Lawrence, Whitchurch, London as was the Duke in 1771.
SIZE: canvas 29 x 22 inches.
37 x 30 inches inc. frame.
PROVENANCE: Oxfordshire Private Collection for many years.
VERSO: old labels for the art dealers Agnews and Ryman.
SOLD
SOLD....Portrait of a Young Boy and His ...
Item Ref
8662
Oil on canvas in distressed Victorian frame.
An appealing portrait of a young boy and his pet cat painted c. 1830. The boy gazes calmly out at us whilst holding a wriggling cat (little more than a kitten).
As was then the fashion, indeed, as it had been for centuries, young boys wore a dress until they were about six or seven when they were 'breeched' and wore their first proper male clothing.
The boy wears an extraordinary hat which seems to be Greek or Ottoman in inspiration. The poet Lord Byron was painted wearing one with Greek national costume at this time.
The sitter and the artist are both unknown but the latter seems to have influenced by Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) who was a leading English portrait painter and President of the Royal Academy.
SIZE: 40.5 x 35.25 inches inc. frame.
Canvas size: 30 x 25 inches.
PROVENANCE: Private Collection, Shropshire.
An appealing portrait of a young boy and his pet cat painted c. 1830. The boy gazes calmly out at us whilst holding a wriggling cat (little more than a kitten).
As was then the fashion, indeed, as it had been for centuries, young boys wore a dress until they were about six or seven when they were 'breeched' and wore their first proper male clothing.
The boy wears an extraordinary hat which seems to be Greek or Ottoman in inspiration. The poet Lord Byron was painted wearing one with Greek national costume at this time.
The sitter and the artist are both unknown but the latter seems to have influenced by Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) who was a leading English portrait painter and President of the Royal Academy.
SIZE: 40.5 x 35.25 inches inc. frame.
Canvas size: 30 x 25 inches.
PROVENANCE: Private Collection, Shropshire.
SOLD
SOLD...Pair of Portraits of John and Jane ...
Item Ref
8646/7
ONE OF THE PAIR OF DE CARTERET PORTRAITS.
Pair of oils on canvas in giltwood frames.
This charming pair are probably engagement portraits painted to commemorate their forthcoming union.
The artist has used a bright, soft palette giving an optimistic Spring like feel to the paintings. Jane holds a basket of flowers and wears one as an ornament in her hair.
John, as befits an 18th century gentleman of noble lineage, stands confidentally, his tricorne hat under his arm, one hand on his hip and the other tucked into his waistcoat.
The DE CARTERET family.
"There are few families, if any, who can show a record as famous and remarkable as that of the noble family of de Carteret, and the fame of their deeds is recorded alike in French and English chronicles.
Their history through succeeding generations is closely interwoven with the history of Jersey; their most striking characteristic has been a deep loyalty to their Dukes of Normandy, embodied in the persons of the monarchs of England. Nor is it too much to say that this, the most important of the Channel Islands, has been held steadfast and loyal to the English throne largely through the extraordinary patriotism and exceptional qualities of this family.
The de Carterets are of ancient Norman descent. The name Onfrey de Carteret is mentioned amongst those who followed William the Conqueror to England, and he was probably one of the Seigneurs of Normandy even at that early time." 'Jersey: An Isle of Romance' by Blanche B. Elliott, (published 1923).
The de Carterets prospered not only in Jersey; Philip (1639-1683) was the 1st Governor of New Jersey, and Rear Admiral Philip de Carteret (1733-1796) was a famous circumnavigator.
HAMLET WINSTANLEY (1698-1756) was a painter and engraver based predominantly in Warrington, Lancashire. Initially self-taught as an artist by 1713 he was in London drawing in Kneller's academy in Great Queen Street, returning to Warrington in 1721. Under the patronage of James Stanley, 10th Earl of Derby, of Knowsley Hall, Lancashire, Winstanley spent two years in Italy between 1723 and 1725. On his return to England he painted members of the Stanley family which remain at Knowlsey today. Today Winstanley is perhaps best known as an early tutor of George Stubbs (1724-1806).
SIZE: 40.5 x 32.5 inches inc frame.
PROVENANCE: English Private Collection.
VERSO: old inscription "John de Carteret, son of Philip de Carteret married Jane Falla 14th March 1758".
IMPORTANT NOTE: THIS PORTRAIT IS SOLD AS A COMPANION TO THE ONE OF JOHN DE CARTERET AND THE PRICE IS FOR THE PAIR.
Pair of oils on canvas in giltwood frames.
This charming pair are probably engagement portraits painted to commemorate their forthcoming union.
The artist has used a bright, soft palette giving an optimistic Spring like feel to the paintings. Jane holds a basket of flowers and wears one as an ornament in her hair.
John, as befits an 18th century gentleman of noble lineage, stands confidentally, his tricorne hat under his arm, one hand on his hip and the other tucked into his waistcoat.
The DE CARTERET family.
"There are few families, if any, who can show a record as famous and remarkable as that of the noble family of de Carteret, and the fame of their deeds is recorded alike in French and English chronicles.
Their history through succeeding generations is closely interwoven with the history of Jersey; their most striking characteristic has been a deep loyalty to their Dukes of Normandy, embodied in the persons of the monarchs of England. Nor is it too much to say that this, the most important of the Channel Islands, has been held steadfast and loyal to the English throne largely through the extraordinary patriotism and exceptional qualities of this family.
The de Carterets are of ancient Norman descent. The name Onfrey de Carteret is mentioned amongst those who followed William the Conqueror to England, and he was probably one of the Seigneurs of Normandy even at that early time." 'Jersey: An Isle of Romance' by Blanche B. Elliott, (published 1923).
The de Carterets prospered not only in Jersey; Philip (1639-1683) was the 1st Governor of New Jersey, and Rear Admiral Philip de Carteret (1733-1796) was a famous circumnavigator.
HAMLET WINSTANLEY (1698-1756) was a painter and engraver based predominantly in Warrington, Lancashire. Initially self-taught as an artist by 1713 he was in London drawing in Kneller's academy in Great Queen Street, returning to Warrington in 1721. Under the patronage of James Stanley, 10th Earl of Derby, of Knowsley Hall, Lancashire, Winstanley spent two years in Italy between 1723 and 1725. On his return to England he painted members of the Stanley family which remain at Knowlsey today. Today Winstanley is perhaps best known as an early tutor of George Stubbs (1724-1806).
SIZE: 40.5 x 32.5 inches inc frame.
PROVENANCE: English Private Collection.
VERSO: old inscription "John de Carteret, son of Philip de Carteret married Jane Falla 14th March 1758".
IMPORTANT NOTE: THIS PORTRAIT IS SOLD AS A COMPANION TO THE ONE OF JOHN DE CARTERET AND THE PRICE IS FOR THE PAIR.
SOLD
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SOLD....Portrait of a Lady in Blue 1745, ...
Item Ref
8505
Oil on canvas in reproduction gilt frame.
Signed and dated lower left 'C. Sommers Pinxt 1745'.
This pleasing portrait is absolutely typical of its period. The artist clearly influenced by Thomas Hudson who was the fashionable portrait painter of the time.
CHARLES SOMMERS (fl. 1739-1753) worked in London and is known as a painter of small-scale full lengths often in the manner of Arthur Devis. This Hudsonesque portrait is not characteristic of Sommers; perhaps it was a special commission or an image of a member of his family?
He was successful enough to take on Richard Linnell as his apprentice in August 1752. His large group portrait of 'Sir William More-Molyneaux and Family'of 1739 is at Losely.
SIZE: 38 x 32.5 inches inc. frame.
PROVENANCE: Wiltshire private collection
Signed and dated lower left 'C. Sommers Pinxt 1745'.
This pleasing portrait is absolutely typical of its period. The artist clearly influenced by Thomas Hudson who was the fashionable portrait painter of the time.
CHARLES SOMMERS (fl. 1739-1753) worked in London and is known as a painter of small-scale full lengths often in the manner of Arthur Devis. This Hudsonesque portrait is not characteristic of Sommers; perhaps it was a special commission or an image of a member of his family?
He was successful enough to take on Richard Linnell as his apprentice in August 1752. His large group portrait of 'Sir William More-Molyneaux and Family'of 1739 is at Losely.
SIZE: 38 x 32.5 inches inc. frame.
PROVENANCE: Wiltshire private collection
SOLD
SOLD....Portrait of a Boy of the Douglas ...
Item Ref
NP100
Oil on canvas in period painted and part gilt frame.
An early 18th century charming naive portrait of one of the sons of Sir William Douglas of Kelhead and his wife Helen Erskine.
The exact identity of the sitter has been lost but the boy is one of six Douglas brothers, not Charles as his portrait is elsewhere on this website. Three of the brothers succeeded, in turn, to the baronetcy and one became a lieutenant-general.
The baronetcy is now merged with the Marquessate of Queensbury.
The boys' father, Sir William, was the 2nd Baronet and married Helen, daughter of Colonel John Erskine, Deputy Governor of Stirling Castle, on 8th September 1705.
The union produced nine children, seven boys and two girls.
This portrait descended through the family to Elizabeth Gwendolen Teresa Johnstone-Douglas of Peelings Manor, Pevensey, Sussex who married William, 6th Earl of Craven.
SIZE: 32.75 x 26.75 inches inc. frame.
PROVENANCE:Lady Craven, formerly of Peelings Manor. (The 5th image is of Peelings Manor).
Note: the portrait and frame are in "country house condition"; there are damages to the frame.
An early 18th century charming naive portrait of one of the sons of Sir William Douglas of Kelhead and his wife Helen Erskine.
The exact identity of the sitter has been lost but the boy is one of six Douglas brothers, not Charles as his portrait is elsewhere on this website. Three of the brothers succeeded, in turn, to the baronetcy and one became a lieutenant-general.
The baronetcy is now merged with the Marquessate of Queensbury.
The boys' father, Sir William, was the 2nd Baronet and married Helen, daughter of Colonel John Erskine, Deputy Governor of Stirling Castle, on 8th September 1705.
The union produced nine children, seven boys and two girls.
This portrait descended through the family to Elizabeth Gwendolen Teresa Johnstone-Douglas of Peelings Manor, Pevensey, Sussex who married William, 6th Earl of Craven.
SIZE: 32.75 x 26.75 inches inc. frame.
PROVENANCE:Lady Craven, formerly of Peelings Manor. (The 5th image is of Peelings Manor).
Note: the portrait and frame are in "country house condition"; there are damages to the frame.
SOLD
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