Portrait of a Lady c. 1710; Follower ...

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Oil on canvas in a good quality carved and giltwood period frame.
Traditionally known as Pamela, confident of her youth and attractiveness, the young sitter wears no jewellery or ornate clothing, just a green velvet robe over a white linen chemise.
This type of 'undress', as it was called, was highly fashionable for relaxing at home at this time.

SIR GODFREY KNELLER (1646-1723) studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715.
His work fully expresses the spirit of the English Baroque, and his style was much emulated.

SIZE: 38 x 32 inches framed.
PROVENANCE: *London private collection
* With Roy Precious Fine Art, King William House, Settle, Yorkshire
*From 1994 until 2022 private collection, Settle, Yorkshire.

SOLD....Portrait of Lady Anne Cecil c.1635; Circle ...

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Oil on canvas in good quality 17th c. carved and giltwood frame.

LADY ANNE CECIL, COUNTESS OF NORTHUMBERLAND was born 1611/12 and baptised in the Chapel Royal, Whitehall, London. She was the daughter of William Cecil, Earl of Salisbury and Lady Catherine Howard. Anne married Algernon Percy, Earl of Northumberland before 1630 (date not known exactly) and bore him five daughters.
The portrait is unusual in that the sitter is clearly pregnant, her hand resting protectively across her belly. This well observed gesture exemplifies the greater interest in naturalism found in English paintings of the early 17th century.
The portrait is a symbol of the hope and need of these two great families for a male heir to the Earldom of Northumberland. Alas, no son was born and Anne, Countess of Northumberland died in December 1637 aged 26.

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:47 x 39.5 inches inc. frame.

PROVENANCE: for many years in a Cheshire Private Collection.

A head and shoulders version of this portrait is at Lennoxlove House in the Collection of the Duke of Hamilton.
At Burghley House, ancestral home of the Cecils, is a beautiful portrait by Van Dyck of Lady Anne before her marriage.


SOLD...Portrait of a Young Lady c.1770; Circle ...

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Oil on canvas within a very fine 18th c. carved and giltwood frame.

This charming portrait of an aristocratic young woman is by a talented artist very strongly influenced by Dance.
The treatment of the cloth and the skin tones are particularly well painted.

The sitter radiates a sense of peace and calm; in her hands and to her left are flowers...jasmine and honeysuckle. In the Language of Flowers honeysuckle signifies sweetness of disposition, yellow jasmine is grace and elegance, and white jasmine represents amiability.

SIR NATHANIEL DANCE (1735 - 1811) was a neo-classical history painter and portraitist. Son of an architect, he was trained as an artist by Francis Hayman from c.1749. He went to Rome in 1754 until 1765, working with Pompeo Batoni.
He met, and fell in love with, Angelica Kauffmann but the relationship ended when they returned to London in 1766.
Dance had a very good portrait business in London, painting the King and Queen.
He was a Founder Member of the Royal Academy.
He became a baronet (changing his name to Dance-Holland) and inherited a fortune in the 1770s and gave up portrait painting in 1782, becoming an M.P. in 1790.

SIZE: 43 x 35 inches inc. frame.

PROVENANCE: English Private Collection.

Portrait of a Lady c. 1590-1610; Attributed ...

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Oil on oak panel, composed of three sections, now in a late 18th century gilt frame.

This is a fine, sensitive portrait of a wealthy young woman, very expensively and fashionably dressed. The linen of her ruff is of such fine quality, and is so beautifully painted, that it almost seems lit from within.
The identity of the sitter has been lost, but it is almost certainly a marriage portrait; the portrait of her husband is also on this website.

Clothes and accessories were of enormous importance at this period. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.
The artist invests the portrait with a calm dignity, the beautifully painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining its costliness.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.
Beautifully moulded by light and colour, this portrait has the lively human presence of a young woman that reaches across four centuries.

GORTZIUS GELDORP (1553–1618) was a Flemish Renaissance artist distinguished himself through his portrait paintings.
After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders; they are traditional in style but painted in a smoother manner than portraits by the old Cologne masters.
He had a brilliant and powerful palette in which the browns dominate. His later works are characterised by soft transitions and a blueish tone in the wrists and neck of his subjects.
He died in Cologne, aged about 65. The painter Georg Geldorp who was mainly active in England was his son. The painter Melchior Geldorp who worked in Cologne was probably his son or nephew.

SIZE: 24.5 x 22 inches including frame.
PROVENANCE: Deceased Irish country estate.

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)"

Double Portrait of Eleanor and Margaret Little ...

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Oil on canvas in good quality carved and giltwood frame, signed and dated 1905 top left.

In this charming Edwardian portrait the two sisters, Eleanor and Margaret Little, are shown in the library of the Vicarage, Sampford Courtenay, near Okehampton, Devon, the house in which they were born.
As if interrupted in their painting of a toy cockerel they look steadily out at us.
In adulthood neither of them had children so this portrait passed to their nanny, the grandmother of the person from whom the previous owner purchased this painting in 2003.
Accompanying the portrait are some photographs of the family, the village and the Vicarage.

ALEXANDER MACDONALD (1839-1921)was a portrait painter. He exhibited 1 painting at the British Institute, 2 at the Walker Art Gallery, Liverpool, 11 at the Royal Academy and 1 at the Royal Scottish Academy.
MacDonald probably studied under the noted society portrait artist Sir Hubert von Herkomer RA, RWS, CVO.
Amongst MacDonald's sitters were Frederick Morris Fry, Master of the Merchant Taylors' Company, and the Earl of Lichfield.

SIZE: 31.5 x 37.25 inches inc. frame.
PROVENANCE: see above. VERSO: Old label; 'The Reverend Little. Sampford Courtenay.'

Portrait of Charles Louis (Karl Ludwig), Prince ...

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Oil on oak panel.

CHARLES LOUIS, (German: Karl I. Ludwig), Elector Palatine KG (22 December 1617 – 28 August 1680) was the second son of German elector Frederick V of the Palatinate, the "Winter King" of Bohemia, and his wife, Elizabeth of England. He is shown here wearing the sash and insignia of the Order of the Garter given to him by Charles I.

After the death of his older brother, Henry Frederick, in 1629, and of his father in 1632, Charles Louis inherited his exiled father's possessions in the Electorate of the Palatinate. Along with his younger brother Rupert, he spent much of the 1630s at the court of his maternal uncle, Charles I of England, hoping to enlist English support for his cause. The young Elector Palatine was largely unsuccessful in this, and became gradually estranged from the King, who feared that Charles Louis might become a focus for opposition forces in England. Indeed, in the English crisis leading up to the outbreak of the English Civil War, Charles Louis had considerable sympathy for the parliamentary leaders, especially the Earl of Essex, feeling them more likely to come to the aid of the Palatinate on the continent. Although Charles Louis was involved in the early stages of the Civil War with his uncle, he was mistrusted for his parliamentary sympathies, and soon returned to his mother in The Hague. There he distanced himself from the royalist cause in the Civil War, fearing that Charles would sell him out for Spanish support.
In 1644, Charles Louis returned to England at the invitation of Parliament. He took the Solemn League and Covenant, even though his brothers, Rupert and Maurice, were Royalist generals. Contemporaries (including King Charles) believed that Charles Louis' motive in visiting Roundhead London was that he hoped that Parliament would enthrone him in place of his uncle. Charles Louis' endorsement of the Parliamentary party was a cause of enmity between uncle and nephew, and when a captive Charles I met his nephew once again in 1647, the elder Charles accused the Prince of angling for the English throne. Charles Louis was still in England in October 1648 when the Peace of Westphalia restored the Lower Palatinate to him. He remained in England long enough to see the execution of his uncle in January 1649, which appears to have come as a shock. The two had not reconciled prior to the King's death – Charles refused to see his nephew before his execution.
After this unhappy dénouement to Charles Louis's participation in English politics, he at last returned to the now devastated Electorate of the Palatinate in the autumn of 1649. Over the more than thirty years of his reign there, he strove with some success to rebuild his shattered territory. In foreign affairs, he pursued a pro-French course, marrying his daughter Elizabeth Charlotte to Philip I, Duke of Orléans, Louis XIV's brother, in 1671. After his restoration, his relations with his relatives continued to deteriorate – his British relations never forgave him for his course in the Civil War, while his mother and siblings resented his parsimony.

GERRIT VAN HONTHORST (1592 – 1656) was a Dutch Golden Age painter; born in Utrecht,
He built a considerable reputation both in the Dutch Republic and abroad. Queen Elizabeth of Bohemia, mother of Prince Rupert, sister of Charles I of England, then in exile in the Netherlands, commissioned Honthorst as a painter. Through her he became known to King Charles, who invited him to England in 1628. After his return to Utrecht, Honthorst retained the patronage of the English monarch.

SIZE: 35 .5 x 29.5 inches inc. frame.
PROVENANCE: Collection of Lord Berners, Faringdon House, Oxfordshire. (See last 3 images).


SOLD....Portrait of Mariya Andreevna Kozlovskaya 1954, by ...

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Oil on sackcloth in simple black wood frame.

Boris Korniev (Russian, 1922-1973).
Portrait of the artist's wife, Mariya Andreevna Kozlovskaya. It was this painting, exhibited in the Leningrad Summer Exhibition of 1954, that earned Boris his place as a Member of the Artist's Union.
Signed and dated '54 (in Cyrillic, lower right); inscribed verso.

MARIYA ANDREEVNA KOZLOVSKAYA (born 1925) met her husband, Boris Korniev, at the Russian Academy of Arts, Repin, where they were both students. They married in 1949 and both graduated from the Academy in 1952. In the present portrait, she wears the same clothing that she wore on her graduation day.

Mariya is herself a successful artist, having exhibited at over 100 exhibitions within Russia and abroad. She was elected to the Artist's Union in 1954. She currently lives in St. Petersburg, where she shares a studio with her son, also an artist. Mariya (also known as Marina) is regarded as one of the most talented representatives of the Leningrad School of painting.

BORIS VASIILIEVICH KORNIEV (1922-1973) In 1938 he finished at Leningrad Art School. During the World War ll (called by the Russians The Great Patriotic War) Boris served in the army being awarded many medals for gallantry.
In 1945 he attended Leningrad Art College for a year then from 1946-1952 he studied at the Repin Academy under Professor Viktor Oreshnikov; he was a pupil of Boris Fogel, Genrikh Pavlovsky, Semion Abugov and Andrey Mylnikov.
In 1949, at the Academy, Boris met and married Mariya, both graduating in 1952. Boris was awarded the Gold Medal for his Diploma painting of 1952.

There were no studios available for the newlyweds so they lived with one mother and then the other; they painted each other's portraits at this time. This portrait of Mariya was in the Summer Exhibition in 1954 where it was seen by the Director of the Artist's Union; he was so impressed with it he invited Boris to become a member.
He painted portraits, landscapes and still lifes, showing work in numerous important exhibitions including the famous 'Soviet Russia' exhibition in Moscow 1960.
Member of the LCRAU in 1954, from 1962 Boris taught at the Repin Academy, (in the last year of his life he was made Professor of the Academy), Honoured Artist of the Russian Federation 1965. His work is in the Russian State Museum at the Hermitage, St. Petersburg, the Tretyakov State Gallery and in public and private collections world wide. He died on 24 December 1973.

LITERATURE: 'Boris Korniev. Paintings. Exhibition catalogue, Leningrad: Khudozhnik RSFSR 1975.'

' Unknown Socialist Realism. The Leningrad School.' St. Petersburg: NP-Print 2007. This book is the first on the history of the Leningrad School, one of the brightest and significant phenomena in Soviet art from 1930-1980.
This portrait is reproduced full page on page 46.

SIZE: (canvas) 41 inches x 32 1/2 inches.

Boris Korniev and Mariya Kozlovskaya;
Sold by Mariya in 2007 to Percy Barkes, UK dealer in Russian Art ;
English Private Collection.

SOLD....Portrait of a Lady 1931, by Flora ...

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Oil on canvas, signed and dated upper right.

A superb and insightful portrait of a young woman, relaxed and lost in thought.

FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.

During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.

She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.

SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.

Portrait of Captain Mackinley c.1830, by Sir ...

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Oil on canvas in the original very fine frame.
This is an excellent portrait typical of the period; the handsome sitter has a fashionable brooding, Byronic look, with the dark background enhancing the drama and encouraging the viewer to concentrate on the sitter's face.

The sitter is thought to be Thomas George MacKinley (1809-1865); he was the son of John Mackinley and Maria Cates. Born in London, he was an officer in the Royal Navy, becoming a captain in July 1830.
The Mackinleys are related by marriage to the eminent Copeman and Boord families with connections to Wakehurst Place, Sussex.

SIR WILLIAM BEECHEY RA (12 December 1753 – 28 January 1839) was a leading English portraitist during the golden age of British painting. Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). Beechey’s career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds.
In 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. That same year, he was elected as an associate member of the Royal Academy. Following his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year’s academy’s exhibition. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. The king was reported to be delighted with the painting and rewarded Beechey with a knighthood.[ Joseph Farington's Diaries give many accounts of Beechey's relations with the royal family during this period, including his temporary fall from favour in 1804, which Farington attributes to the vagaries of George III’s mental condition.
Beechey's portraits of the turn of the century are considered to be his most lively. They are closer to the flamboyant and free techniques employed by his younger rivals, John Hoppner and Sir Thomas Lawrence.
Royal patronage resumed in around 1813, when Beechey was appointed portrait painter to Prince William Frederick, Duke of Gloucester, and culminated with his appointment in 1830 as principal portrait painter to King William IV. In 1836, Beechey retired to Hampstead and on 9-11 June that year, the contents of his studio along with his collection were sold at Christie’s.
Although capable of impetuousness and irascibility, Beechey was known for his generosity to students. In particular, he took a close interest in the career of the young John Constable.
SIZE: 37.25 x 32 x 3.5 inches including the frame.
PROVENANCE: By descent to the estate of the Copeman family.
VERSO: faded old paper label and a copperplate inscription "Painted by Sir William Beechey".

Portrait of a Boy and Lamb c. ...

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Oil on canvas, signed above the lamb's head, in modern giltwood frame.

The young boy, dressed rather foppishly 'a la mode' of the Late Georgian or Regency period, holds a book, his finger marking his place. He looks to one side as if he has just been distracted from his reading.
His right arm is round a lamb which may have been a pet or it may be purely symbolic.
Lambs were often used in portraiture to signify innocence, gentleness, patience and humility .... characteristics thought highly desirable in a child.

F. SCARFE. The portrait is signed by this artist, but little is known of him. He lived in Marylebone, London, and exhibited a portrait at The Royal Academy in 1825.

SIZE:25.5 x 21.25 inches inc. frame.
PROVENANCE: The Collection of Brian Juhos from his Domaine in Southern France.(see Image 6).

{BRIAN JUHOS is a celebrated international decorator and interior designer; a renowned tastemaker, his signature style is an integral part of many sophisticated interiors around the world.}

SOLD....Portrait of a French infantry officer 1792; ...

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Oil on canvas in giltwood frame.

Painted just three years after the storming of the Bastille and the overthrow of the French monarchy this is a pleasingly frank portrait of a French officer of the Republican Infantry of the Line; he looks determined but of a good nature.
The unknown artist has used his considerable skill not just to accurately depict the sitter, but also to give the viewer a strong sense of the officer's personality.

Inscribed lower left 'Tanisch a Gle de France en 1792'.
1792 was the year in which the first French Republic was proclaimed and was marked by great military success, expanding the French borders across Europe.

SIZE: 27.75 x 23 inches inc. frame

PROVENANCE: Nottinghamshire Private Collection.
Private Collection of a Fellow of Cambridge University.