Oak 8 day longcase clock by Samuel ...

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A good quality oak 8 day longcase clock by Samuel Whalley of Manchester. Dial features date this clock to c.1735 (eagle/urn spandrels, fleur-de-lys hour spacers, quarter-hour chapter).
The case is of the best oak, banded with mahogany, and the hood has a fashionable 'caddy top' with blind fretting (slightly damage). Tall and elegant, the clock is of exceptional colour & patina with an attractive ogee arched door. 8-day movement with brass dial with engraved and silvered chapter ring, signed ‘S. Whalley. Manchester’
£750 spent in August 2021 restoring the movement which is now in excellent order throughout, with the exception of the date ring, which no longer functions.

Samuel Whalley, clockmaker; married Mary Shallcross in 1733. Died 16 June 1744. The couple had a son, Samuel, who was admitted to school in 1750. This Samuel became a watch maker in Manchester, as did his son, also a Samuel. (Brian Loomes "Lancashire Clocks".)

DIMENSIONS: 84 inches tall, 19 inches wide, 9.5 inches deep.
PROVENANCE: Yorkshire private collection

Portrait of Francis Gregor 1713, by William ...

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Oil on canvas in a gilltwood frame.

The Gregors were an important Cornish family who came to prominence during the 16th and 17th centuries as merchants and landowners.

FRANCIS GREGOR, (1686-1762), aged 27 in the portrait, was born in Trewarthenick in the parish of Cornelly, Cornwall.
He married, firstly, Maria Ratcliffe who died in 1720, and secondly in 1724, Dorothy Harn, died 1792.
Francis became Deputy Lieutenant of the Duchy of Cornwall: his son, Francis, served in the 53rd Regiment at Quebec under General Wolfe and became his secretary. In this portrait he holds a vellum scroll dated 1215, the date of the Magna Carta.

This painting, until the late 1960s, hung in the Great Hall of Trewarthenick House, Cornwall, at that time the property was sold out of the family.
In 1969 the portrait was relined by the then owner and the signature of the artist on the verso of the canvas was obscured, It was, however traced and this tracing comes with the portrait, as does much correspondence with Cornwall County Council concerning the portrait and family, a handwritten family tree, a copy of the Journal of the Royal Institution of Cornwall concerning the family and showing this portrait, and a framed engraving of Trewarthenick House, dated 1832. (See images).

WILLIAM GANDY (c1655-1729) Registered as the son of artist William Gandy, although in later life he claimed he was the illegitimate son his father's patron , the Duke of Ormonde.
His known work dates after 1700 and is of a high standard; his paintings were admired by Sir Godfrey Kneller, Painter to the King, and he is said to have influenced Reynolds, especially in the texture of the paint. Reynolds and Northcote are both reportred to have borrowed his paintings to make studies. His compositions can be original, and he often represents his sitter, as here, 'tightly' within the framework of the canvas. He is buried in St. Paul's Church, Exeter.

SIZE: 35.5 x 30.5 inches including frame.
PROVENANCE: by direct family descent until the late 1960s. Latterly in an Oxfordshire private collection, having been bought from the trade many years ago.

Portrait of a Gentleman c.1780, attributed to ...

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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.

Portrait of Hester, Lady Godfrey c.1635; Attributed ...

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Oil on canvas in an ebonised frame which enhances the jewel like quality of this glowing portrait.

The sitter in this beautiful portrait looks out with a candid gaze, there is a strong sense of intimacy and insight.
A small portrait of this size was probably painted for her parents and was known as a cabinet picture. At this period a 'cabinet' was a small, intimate and private room where treasured possessions were kept, only very close friends were permitted to enter.

HESTER, LADY GODFREY (1622-1699) was the daughter of Sir John Wyld of Kent. She married Thomas Godfrey of Lyd, knighted in 1641. Sir Thomas bought the manor of Heppington in 1640; he died in 1684. There were no children to the marriage. Hester lived to be 77 and is buried in the 12th century St. Mary's Church, Nackington, Kent, as is her husband. Nackington is a small village south of Canterbury.

Aliases: Theodore Rousel; Theodore Rousseel; Theodore Roussel; Theodore Russel.
Born in London, his father, Nicasius, was a goldsmith and jeweller, who left Bruges for England about 1573 and settled in the parish of St Anne, Blackfriars, London; his second wife, Theodore’s mother, was the sister of Cornelis Jonson van Ceulen.
The Russells were connected with the Gheeraerts, de Critz and Oliver families. Theodore’s son, Anthony Russell, who provided George Vertue with information concerning 17th-century artists, stated that Theodore had studied under Jonson and van Dyck, had been employed by such patrons as the 3rd Earl of Essex and the 1st Earl of Holland, and ‘was a lover of ease & his Bottle’
Signed portraits by him are rare. A set of five bust-length portraits at Knebworth House, Herts, includes a male portrait, signed and dated 1644. They are sensitive works in the manner of Johnson.

SIZE: Canvas 10 x 8 inches; framed size 16.75 x 14.5 inches.
PROVENANCE: Long established London Private Collection.
VERSO: A giltwood plaque bearing the inscription "Hester, Lady Godfrey. b1622 d1699. Wife of Sir Thomas Godfrey, by Theodore Russell."

Pair of Portraits of Two Girls of ...

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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'.

SOLD...Portrait of a Lady c.1628; attributed to ...

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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.

Verso: an old collection seal in red wax, probably 18th century.

Private Collection, Cornwall.
Boarsney House, Sussex.


Portrait of William Stanhope, 1st Earl of ...

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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".

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.

By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.

John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.

Alabaster Bust of Louise De La Valliere ...

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A beautiful Art Nouveau bust of Louis de La Valliere.
Although Louise lived in the 17th century, the Italian sculptor Vittorio Pochini has chosen to depict her wearing a head-dress of the Renaissance period, her eyes modestly downcast. Although Louise became the mistress of the French king she was not a promiscuous woman and was deeply religious.
The name 'DE LA VALLIERE' is cut into the base.
The bust shows signs of its age with some surface cracks and some small abrasions but is still an item of great beauty.

Louise de La Vallière (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.

SIZE: 16.5 inches tall (42 cms)
PROVENANCE: Norris Castle.(Image 7)
NORRIS CASTLE is located on the Isle of Wight and can be seen from the Solent standing on the northeast point of East Cowes. The castle was designed by James Wyatt for Lord Henry Seymour. It has a mediaeval facade with crenellations, but all of this is for show as the castle has no defensive fortifications. The building's original function was entertaining.
King George IV visited the castle in 1819, and the future Queen Victoria with her mother the Duchess of Kent in 1831. Queen Victoria later purchased Osborne House, which is the next estate to the east.
In the second half of the twentieth century the castle was opened to the public; it is now closed.


Portrait of James Francis Edward Stuart c.1692; ...

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oil on canvas in original carved and giltwood frame.

This is a very rare and important image of Prince James Francis Edward Stuart, Pretender to the English throne. Painted c.1692, when he was four, Studio or Circle of Largilliere who painted the original large family group portrait in 1691. The prince wears a dress as was the custom for boys until they were 'breeeched' at the age of seven.

In an era with no mass communication as we understand it, portraits were power; Henry VIII was the first to really understand this. These Jacobite portraits were essential in maintaining the Stuarts in people's minds; visual propaganda. The implied message was that the Stuarts were merely absent from the country and throne for a while, waiting an inevitable restoration. The frequent Jacobite invasions, plots and rebellions were partly made possible by the fact that people could visualise the princes for whom they risked their lives.

The paintings, mainly miniatures, went to the wealthy, engravings to the less wealthy. Note that the prince wears the blue sash and badge of the Order of the Garter as a statement of legitimacy and right to the throne. The small size of this portrait meant that it could more easily hidden if necessary, as to own it was treason.
This image is based on a large family portrait painted by Largilliere in 1691. It would have been the most up to date likeness of the prince until he was painted again by Largillliere in 1694 when he was six.

When King James II adopted Catholicism, and then had an heir, James Francis Edward, Protestant aristocrats turned to the Protestant William of Orange and his wife Mary Stuart. When William and his army arrived in England King James and his family fled to Catholic France.
King Louis XIV lent the Stuarts a chateau as a temporary residence; they were there for 25 years, and never returned to power.
The young Prince James, later known as the Old Pretender, failed in his invasion of Britain in 1715, as did his son Prince Charles, the Young Pretender, in 1745.

Our thanks to Adam Busiakiewicz, art historian, for his research and help with this portrait.

NICHOLAS DE LARGILLIERE (1656-1746) Largillière left France at the age of eighteen and went to England, where he was befriended and employed by Sir Peter Lely for four years at Windsor, Berkshire.
His painting caught the attention of Charles II, who wished to retain Largillière in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largillière, who left for Paris, where he was well received by the public as a painter.

Upon ascending to the throne in 1685, James II requested Largillière to return to England. James II offered Largillière the office of Keeper of the Royal Collections, but he declined due to his continuing unease about Rye House Plot. However, during a short stay in London, he painted portraits of the King, the Queen Mary of Modena, and the Prince of Wales James Francis Edward Stuart.
In Paris, in 1690, Largillière was documented by the French Academy.
Largillière was appointed as Chancellor of the French Academy in 1743. He died on the 20th March, 1746.

SIZE: 25 x 20.5 inches including frame.
PROVENANCE: In the 19th century, William Smith, M.P. North Lonsdale, Justice of the Peace, Barrister at Law, of Newsham House, Broughton, near Preston, by descent to his son William Bernard Stanislaus Smith, J.P, Barrister at Law, born 1874, married 1902 to Florence Clara Ruby Jay, on his death the portrait passed to his widow who died in Chester, leaving a large estate; then to her Great Niece, from whom came the painting.

Portrait of a Young Lady c.1835, Circle ...

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Oil on canvas in a period giltwood frame.
A charming portrait of an attractive young woman painted during the reign of King William IV.
The sitter wears a bright red rose in her hair, in the Language of Flowers this signifies romantic love. She holds to her breast a white rose; white roses mean purity and innocence. They can be used to show that you feel that your love is pure and that you believe the recipient to be pure. White roses also mean you are loyal.
It seems likely that this portrait was commissioned to commemorate a proposed marriage, at this time engagement rings were not always worn.

SIR MARTIN ARCHER SHEE (b Dublin, 20 Dec. 1769; d Brighton, 19 Aug. 1850). Irish portrait painter and writer on art, active from 1788 in London. There he became second only to Sir Tomas Lawrence as the leading society portraitist, painting members of the Royal Family and other aristocrats. His work was very much influenced by Lawrence, and he had a very active Studio and Circle. In 1830 he succeeded him as President of the Royal Academy, which he guided through a difficult period when it was under attack from Haydon and other disaffected artists. Examples of his work—which in style lies between the brilliance of Lawrence and the precision of West—are in the National Portrait Gallery, London.

SIZE: 34.5 x 29.25 x 3 inches including the frame.
PROVENANCE: A long standing private collection in Devon.

Queen Anne ebonised and caned armchair c.1710-20. ...

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An elegant armchair of the Queen Anne period c.1710 - 20, stained the fashionable black of the time; tall and graceful this was an important new stage in English chair design.
This style of cane backed and seated chairs had represented a revolution in seating comfort, but with the disadvantage of fragility.
A surprising number of these chairs still exist (they were made in their thousands) but many are now suitable only for decorative purposes as woodworm, frequent recaning and damage to the joints and the tall backs have rendered them virtually unusable.
This chair has been extensively repaired to be once more usable seating. All old woodworm is no longer active.
This beautiful 300 year old chair, with its glorious sculptural quality, is not just a joy to look at but also to use.

DIMENSIONS: 53.5 inches tall, 23 inches wide.
PROVENANCE: Flaxley Abbey, Gloucestershire. (Images 7 & 8)

Portrait of a Lady c.1635; Attributed to ...

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Oil on canvas in a 19th century gilt frame.

The attractive sitter's hands are elegantly posed in front of her heart as she looks directly at the viewer.
She wears a low cut bodice which was extremely fashionable but the wearer could choose, as has this lady, to preserve her modesty by wearing a diaphanous piece of fabric over the decolletage. Partly covered by this material is the fine quality expensive 'reticella' lace. Also known as 'cutwork' this is the period when it was at its most sophisticated and technically skilled.

Her modesty is further emphasised by the fact that she covers her hair (as does Jamesone's wife in his portrait showing himself, wife and child).

GEORGE JAMESONE (or Jameson) (c. 1587 – 1644) was Scotland's first eminent portrait-painter.
He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College.
Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck. This is, however, yet to be proven as his name does not appear to be noted on the Guild registers of the town. Since Rubens was exempt from registering pupils, the absence of Jamesone's name does not mean that the painter definitely did not study there.
Certainly Jamesone's style is influenced by Rubens, and usually painted thinly, with great style.

Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century. Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620.

Whilst in Aberdeen, Jamesone made a name for himself painting portraits of local academics and scholars from the city's two feuding colleges: King's and Marischal. In 1633, when Charles I made his grand royal visit to Edinburgh, Jamesone rose from local to national fame. For this occasion the painter was asked to decorate a highly elaborate triumphal arch with the portraits of all the past kings of Scotland. He was also given the honour of painting the portrait of Charles himself. It has been said that the king was so pleased with the result that he gave Jamesone a ring off his own finger as a reward.

After hearing of the King's approval, many of the Scottish gentry desired to be painted by the now highly reputable George Jamesone. One of his finest examples is that of Mary Erskine which is on display at the National Gallery of Scotland. Jamesone had homes and studios in Aberdeen (on Schoolhill opposite St. Nicholas Kirk) and in Edinburgh (on the Royal Mile right next door to John Knox House). Having two bases allowed him to meet the demands of hundreds of patrons from the north to the south of the country.

Jamesone's pupil, John Michael Wright, also went on to be a highly important portrait painter in seventeenth century British art.

SIZE: 27.5 x 23.75 inches inc. frame.
20 x 16.5 inches canvas size.
*Collection of Sackville George Pelham, 5th Earl of Yarborough, MC (17 December 1888 – 7 February 1948).
*Collection of a Lady, Northumberland.
VERSO:painted on the canvas "By George Jamesone 1586-1644"
Paper label "The Property of Sackville, 5th Earl of Yarborough".
Two pencil inscriptions on the frame: "The Loyal Lady" and "Portrait of a Lady (Royalist)"