Portrait of Mary Fitzalan, Duchess of Norfolk; ...

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Late 18th/early 19th century oil on canvas in original frame. Verso: an old copperplate label misidentifying the sitter as Mary, Queen of Scots.

This is a beautiful portrait of a lovely young woman .. painted within a feigned oval, the image almost glows with a luminosity.

Until now, this painting has been mistakenly considered to be a portrait of Mary Queen of Scots. Our thanks for the identification of the sitter to Edward Town who informed us that this is a later copy of the Yale Center's original, which was once in the Hamilton Collection at Lennoxlove.

The prime version was painted in1555 by HANS EWORTH, who moved to England in the 1540s, and was the most distinguished Netherlandish artist to work in England in the mid-sixteenth century. His surviving work consists mostly of portraits done between 1549-1570. About thirty-five paintings are generally attributed to him, consisting primarily of dated portraits of the English gentry and nobility. Eworth was the principal court portrait painter during the reign of Mary Tudor (1553-8).

MARY FITZALAN, born 1540, was the youngest daughter of Henry Fitzalan, Earl of Arundel and his first wife Lady Catherine Grey. Her only brother had predeceased her which meant she and her elder sister, Jane Fitzalan were co-heiresses to the earldom of her father and later led to the merge of the Arundel earldom into the dukedom of Norfolk. Mary received an excellent education, several of her translations from Greek to Latin have been preserved, which she wrote in a beautiful Italic hand.
At the age of fifteen she married Thomas Howard, fourth Duke of Norfolk. In 1557, she gave birth to son Phillip who was christened four days later at Whitehall Palace, by Nicholas Heath, Archbishop of York and Lord Chancellor. The two god-fathers, Felipe of Spain, after whom the boy was named, and the Earl of Arundel, his grandfather, were present for the ceremony.
The Duchess never recovered from his birth; she died, a young girl of seventeen. The Bishop of London, and the last Abbot of Westminster together conducted the funeral service, where twelve dozen torches were lit, while the choir of St Paul's sang. She was said by all to be sweet-natured and pious. 'All who knew her could not but love and esteem her much'.

{Dr EDWARD TOWN (FSA) is an art historian and curator. He currently serves as Head of Collections Information and Access and Assistant Curator for Early Modern Art at the Yale Center for British Art, New Haven, Connecticut. Prior to joining the Center, Edward completed an AHRC-funded PhD with the University of Sussex and the National Trust on Knole in Kent, after which he joined the National Portrait Gallery as a member of their 'Making Art in Tudor Britain' project. Edward is the author of a number of articles on artistic production in the sixteenth and seventeenth centuries including ‘A Biographical Dictionary of London Painters 1547-1625’ (Walpole Society, 2014) and was an editor for the multi-author volume 'Painting in Britain 1500–1630'.}

SIZE: 33 x 27.5 inches including the frame.
PROVENANCE: Buckinghamshire Private Collection.

Rare Laburnum Armchair c.1680.

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This is a very rare piece of furniture in laburnum wood, Scottish, Dutch influenced as was much chair design at this time, with spiral turned open arms, raised on turned legs joined by further spiral turned stretchers. It is expensively upholstered in cut velvet.
There are small areas of old woodworm damage, non active, and the ball feet have been replaced; the chair is sturdy, sound and perfectly usable.

It has an interesting PROVENANCE, having belonged to WILLIAM TEACHER (1811-1876), Scottish wine and spirit merchant, and thence by descent.

William Teacher was working in a grocer’s shop in the Glasgow district of Anderston when he married the grocer’s daughter in 1834 and began to sell whisky from the shop. In 1856 he was granted a ‘licence for consumption’ and opened his first ‘Dram Shop’. Ultimately the chain of well-regulated premises with high quality whisky on sale grew to 18, making William Teacher the largest single licence holder in Glasgow.
By this time his sons William Jr. and Adam had joined the business and the family firm became involved in wholesaling and in blending whisky. Early brands offered by the Teachers included Australian Bonded Grand Liqueur, Extra Special and Hibernian Cream, but the one that proved most popular was named Highland Cream, which was registered in 1884.

DIMENSIONS: 25.25 inches wide, 44.5 inches tall, 16.5 inches deep.

A Fine Pair of Carved Oak Highback ...

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A rare pair of William and Mary oak chairs with exuberant carving. These chairs are excellent examples of Baroque furniture, although at this time walnut or beech chair frames with caning to seat and back were more common.
They are in good condition and of fine colour.
A near identical example of this unusual design with turned uprights to the centre can be seen illustrated in Ralph Edward's Dictionary of English Furniture p245, fig55, where he dates the chair to c.1690.

DIMENSIONS: 50.75 inches tall, 18 inches wide, 15.5 inches deep.
PROVENANCE: Somerset country house.

Portrait of a Lady c.1695; Attributed to ...

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An oil on canvas in its original finely carved frame...a work of art in its own right.

The sitter regards us with a candid gaze; unlike many portraits of women painted at this time she is shown as a real person, rather than a cipher or fashion icon. In this insightful painting the lady is shown as clearly intelligent and capable of strong opinion, yet she has compassion.
She wears the fashionable 'undress' of the time with a loosely knotted scarf worn 'a la Steinkerk', painted with strong brush strokes and a painterly delight in the medium.

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 as influential as a writer as well 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 inches including the frame.
PROVENANCE: Auction of the Estate of The Rt. Hon. The Countess Batinski of Belgrave Square, London, on 23 September 1940 (as Manner of Kneller).
Private Collection, Lincolnshire, for many years.