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

Item Ref
8668

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

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

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

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

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

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

Isabella de Bourbon, Queen of Spain; After ...

Item Ref
8947

Oil on canvas in fine gilt frame.
This excellent portrait is an 18th century version of the 17th century original by Velasquez, now in the Prado, Madrid.
There is an intriguing history to this painting.
Verso, an incorrect German copperplate inscription on the canvas says 'Konigin Maria in Hispania der Konigs Von Engellendt Henri a Octavi Tochter'; this translates as 'Queen Mary of Spain, daughter of king Henry VIII of England'.
The sitter is without doubt Isabella de Bourbon, Queen of Spain (1602-1644).
Another handwritten inscription states that the portrait was brought to England after the Peninsular War (1807-1814) by Colonel Edward Howarth, KCB. KH (Royal Horse Artillery). How Howarth acquired the painting whilst in Spain is not known.
During the Peninsular War he became Brigadier General commanding the Royal Horse Artillery at the battles of Talavera, Busaco and Fuentes D'Onor, where the combined forces of Britain, Spain and Portugal fought Napoleon's empire for control of the Iberian Peninsula during the Napoleonic Wars.
SIZE: 43 x 35 x 5 inches including frame.
PROVENANCE: By descent in the Greenley family of Titley Court, Herefordshire. The Greenleys, originally de Grenelye in 1260 when first recorded, are one of the countries oldest families. Images 5 and 6 show Titley Court.

SOLD

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

Item Ref
8455

Oil on canvas in a Late Georgian frame.

A good portrait of Catherine of Braganza; a version 'in little' by Lely's Studio or Circle of a larger painting by Lely.
An image of this painting can be seen at the Bridgeman Art Library, the portrait is now in a private collection.
Lely's original drawing for this portrait is in the Hermitage State Museum, Russia and can be viewed online at the Hermitage Digital Collection.

This richly decorated portrait of Charles II's queen is a fine example of Lely's ability to produce a vibrant yet functional courtly image. The material of the dress and the movement captured in the drapery as well the contrasting textures of carved gold and smooth silk are fine examples of the artistic mastery for which Lely was famous. As a royal portrait, this image and duplications of it would have been used by loyal followers of the Court who wished to demonstrate their allegiance.

Catherine of Braganza (16381705) was a Portuguese princess and Queen consort of Charles II of England, whom she married in 1662, bringing Tangier and Bombay as part of her dowry. The marriage was childless and she had to tolerate the king's numerous and blatant infidelities.
As a Roman Catholic, she was unpopular and there were attempts to implicate her in the 'Popish Plot'.
King Charles died in 1685 and in 1692 Catherine returned to Portugal, where she later died.

(Our thanks to Rita Wierzbicki for her help in identifying the sitter, formerly thought to be Barbara Villiers).

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits.

SIZE: 36.5 x 33 inches framed
30.5 x 25.5 canvas size
18th c. frame has several damages.
PROVENANCE: Private Collection, London.
SOLD

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

Item Ref
8397

Oil on canvas in reproduction frame of appropriate type and period.

A charming portrait of an attractive lady with a direct but modest gaze.
The artist strongly influenced by Mytens, especially in the rendering of the shimmering silk dress.

It is possible that this is Lady Anne Lindsay (born before 1638) who was the daughter of John Lindsay, 17th Earl of Crawford, and Lady Margaret Hamilton. She married John Leslie, 1st Duke of Rothes, and had two daughters.
The Duchess was a Presbyterian and favoured the doctrines of the Covenanters.
A portrait by David Scougall of the Duchess in later years exists.

(Our thanks to Aileen Munro-Cameron for help with the above)

JAN MYTENS (1614-1670) worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.

SIZE: 26 x 21 inches canvas size; 32 x 27 inches inc. frame.

Verso: three old labels.
PROVENANCE:
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection
SOLD

Pair of William and Mary oak chairs ...

Item Ref
9062

This fine pair of highbacked oak chairs are a country or provincial version of the fashionable walnut and cane backs and seated chairs of the period.
Sturdier than their city counterparts, chairs of this type appealed to the more traditional gentry and merchants of England.
Well carved and proportioned they are of better quality then many of the caned variety.

They are of good colour and condition although one of them has had an upright to the back broken at one time, but long since mended. On the same chair, and perhaps at the same time, one of the finials was broken off and repaired.

DIMENSIONS: 49 inches tall, 18.75 inches wide, 16 inches deep.
PROVENANCE: Yorkshire private collection.
SOLD

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

Item Ref
8335

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

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

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

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

Item Ref
8629

Oil on canvas in ornate 19th c. frame.

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

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

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

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

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

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

SOLD

Portrait of a Gentleman c. 1590, probably ...

Item Ref
8905

Oil on canvas in reproduction 17th century frame.

This striking portrait from Norris Castle on the Isle of Wight has been traditionally called 'The Earl of Warwick', but this is unlikely. In the top left hand corner is the inscription "Johan Upchierts", probably the name of the sitter though research has brought up no such name.

The gentleman wears a steel gorget below his ruff...the badge of office of a military officer.
This is a fine portrait; sensitive and penetrating with a real sense of the personality of the sitter.

ADRIAEN THOMASZ. KEY (C.1544 - after 1589)
Scholars know little of Key's background, but he was probably portraitist Willem Key's pupil. Key was either distantly related to Willem or simply took his teacher's name.

Key became a master in Antwerp's Guild of Saint Luke in 1568, and his dated paintings are known from 1572 onwards. After Catholic Spain completed its reconquest of the Netherlands by seizing Antwerp in 1585, Key remained registered as a Calvinist yet continued working and teaching pupils. There is no record of him after 1589. Key is most admired for his portraits and for his power of objective observation. In his lifetime, he must have been highly respected, for he painted numerous portraits of William the Silent, prince of Orange and count of Nassau, a great leader in the Netherlands's struggle for independence from Spanish rule. His later portraits, which primarily depict Antwerp citizens, display greater emphasis on the sitters' status, probably resulting from Antonis Mor's influence. Key also painted altarpieces for Antwerp churches, including the high altar of the Franciscan church, whose figures resemble those of Willem Key.

SIZE: 32 x 26.5 inches inc. frame.
PROVENANCE: Norris Castle, Isle of Wight. (image 5)
SOLD

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

Item Ref
heins

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

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

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

A still life trompe l'oeil c.1850; Manner ...

Item Ref
9119

A trompe l'oeil still life of an engraving titled "A Storm", on a wooden background. Inscribed faintly 'A Ship in Distress, Breaking.... Painted by F... . 1850".
This is a remarkable painting, truly an 'eye deceiver'; it seems that a tattered print is attached to the wooden boards by sealing wax, and as a further touch of verisimilitude, a fly crawls on the boards.
The painting has an excellent surface and the canvas has never been lined. The frame is a later one, but suits the painting perfectly.

STRICKLAND LOWRY (c.1737-c.1785) was a portrait painter and engraver. Born at Whitehaven, said to have died at Worcester. He practised also in the Midlands where he built up a reputation. He also worked in Dublin and Northern Ireland.
SIZE: 23.25 x 20 inches including the frame.
PROVENANCE: Private Collection, Salisbury, Wiltshire. VERSO: an old Christie's stencilled number, and the inscription 'Nov.11, 55'.
SOLD

Portrait of a Lady c.1810; Circle of ...

Item Ref
8913

Oil on canvas in a reproduction gilt frame.

The sitter, wearing a fashionable 'Empire line' dress..the waistline just beneath the bust.. also sports an expensive Spanish lace shawl and costly jewellery.
Her hair style is equally 'a la mode' in the so-called Classical Roman fashion.

SIR THOMAS LAWRENCE P.R.A. (1769-1830) was a child prodigy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper. At the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1790. He stayed at the top of his profession until his death, aged 60, in 1830.

Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820. In 1810 he acquired the patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency. Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons became the subject of several books) and, in spite of his success, he spent most of life deep in debt. He never married. At his death, Lawrence was the most fashionable portrait painter in Europe.

SIZE: 35 x 29.75 inches inc. frame.
PROVENANCE: Private Collection, Dorset.
SOLD

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

Item Ref
8679

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

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

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

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

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

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

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

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


SOLD