Portrait of Frederick of Bohemia (The Winter ...

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Oil on panel in a reproduction frame of correct type.

This rather soulful image of Frederick was originally painted by van Honthorst and many copies were made by his studio and others to satisfy the demand for this image.

FREDERICK V (1596 – 1632) was the Elector Palatine of the Rhine in the Holy Roman Empire from 1610 to 1623, and served as King of Bohemia from 1619 to 1620. He was forced to abdicate both roles, and the brevity of his reign in Bohemia earned him the nickname of "the Winter King"
Frederick was the son of Frederick IV and of Louise Juliana of Orange-Nassau, the daughter of William the Silent and Charlotte de Bourbon-Montpensier, he succeeded his father as Prince-Elector of the Rhenish Palatinate in 1610.
In 1612 Frederick married Elizabeth Stuart, daughter of James I of England and VI of Scotland. Shortly before the ceremony, Frederick was inducted into the Order of the Garter and he wore the Order's chain during the wedding ceremony. He wears the medal on a sash in this portrait.

In 1618 the largely Protestant Estates of Bohemia rebelled against their Catholic King Ferdinand, triggering the outbreak of the Thirty Years' War. Frederick was asked to assume the crown of Bohemia. He accepted and was crowned on 4 November 1619. The Estates chose Frederick since he was the leader of the Protestant Union, a military alliance founded by his father, and hoped for the support of Frederick's father-in-law, James VI of Scotland and I of England. However, James opposed the takeover of Bohemia from the Habsburgs and Frederick's allies in the Protestant Union failed to support him militarily by signing the Treaty of Ulm (1620). His brief reign as King of Bohemia ended with his defeat at the Battle of White Mountain on 8 November 1620 – a year and four days after his coronation.
After this battle, he had to flee to his uncle Prince Maurice, Stadtholder of the Dutch Republic in 1622. An Imperial edict formally deprived him of the Palatinate in 1623. He lived the rest of his life in exile with his wife and family, mostly at The Hague, and died in Mainz in 1632.
His eldest surviving son Charles Louis, Elector Palatine, returned to power in 1648 with the end of the war. His daughter Princess Sophia was eventually named heiress presumptive to the British throne, and is the founder of the Hanoverian line of kings.

ELIZABET STUART (1596 – 13 1662) was Electress of the Palatinate and briefly Queen of Bohemia as the wife of Frederick V of the Palatinate. She is often referred to as The Winter Queen.
Elizabeth was the second child and eldest daughter of James VI and I, King of Scotland, England, and Ireland, and his wife, Anne of Denmark. If the Gunpowder Plot had succeeded then she would have been Queen in 1605.
With the demise of the Stuart dynasty in 1714, Elizabeth's grandson succeeded to the British throne as George I of Great Britain, initiating the Hanover line of succession.

GERRIT VAN HONTHORST ( 1592 – 1656) was a Dutch Golden Age painter. Queen Elizabeth of Bohemia, sister of Charles I of England and Electress Palatine, then in exile in the Netherlands, commissioned Honthorst as a painter and employed him as a drawing-master for her children.
Through her he became known to King Charles I, who invited him to England in 1628. There he painted several portraits, and a vast allegory, now at Hampton Court, of Charles and his queen as Diana and Apollo in the clouds receiving the Duke of Buckingham as Mercury and guardian of the King of Bohemia's children.
Honthorst had two large studios in the Netherlands where the work included making replicas of his royal portraits, employing a large number of pupils and assistants.

SIZE: 31 x 26 inches framed.
PROVENANCE: Old Sussex Collection.

SOLD....Portrait of a Gentleman c.1715; Follower of ...

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Oil in canvas in distressed 19th c.gilt frame.

A pleasing early 18th century portrait of a good-looking young man painted by an unknown artist; one of the many provincial portraitists who painted the lesser gentry and prosperous mercantile classes.
The portrait itself is a good, honest, no-nonsense image of the sitter...he looks directly and frankly at the viewer.
The unknown artist was clearly influenced by the work of Sir Godfrey Kneller, an artist very fashionable at this time.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture and a large number of artists, many very talented in their own right, emulated his fashionable style.

SIZE: 38 x 32.5 inches inc. frame.
PROVENANCE: Sussex Private Collection.


Portrait of Ann Wells, later Duchess of ...

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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.

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.

Queen Elizabeth I dummy board, 18th/19th century ...

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This naively painted image has great charm and is a rare image of the Virgin Queen. These free standing figures are called Dummy Boards, otherwise known as Silent Companions. They are painted in a very naïve style, with broad brush strokes, as they were meant to be viewed from a distance.
In many country houses, you are likely to come across the odd Dummy Board. They are flat, oil painted figures in trompe l'oeil ... often life-sized (sometimes smaller, as is this one), which were placed around the house: in halls, corridors, by fireplaces and on staircases. The edges of the boards were chamfered (a type of bevelling) to increase the illusion of three-dimensions.
According to the Victoria & Albert Museum they originated in the early 17th century and were popular until the 19th century, when they fell out of fashion.
CONDITION: paint losses and some blistering to the surface; the image has been conserved, but not restored or repainted.
SIZE: 38 inches tall, 18 inches wide.
PROVENANCE: Spanish country house, part of a family collection acquired over several generations, which has remained untouched in the hills of Andalusia for the past 50 years.


Portrait of Tristram(?) Stafford, 1613; Circle of ...

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A good quality oil on oak panel with the coat of arms of the Stafford family upper left, and the inscription " T S Aet Suae 25 Ano 1613" (T S at his age of 25 in the year 1613). Now in a custom made frame of the appropriate type.
Verso an old painted inscription "William Stafford Obit 1625" (Died 1625) However, the initials beneath the armorial are T S, not W S.
This armorial, marked with a mullet (a small star in the chevron) for difference, appears to have been used by the Staffords of Botham Hall in Derbyshire. Although they also seem to have done relatively little of note, they were an offshoot of the real Staffords and of some substance in the region. As always when needed, there are no parish records prior to 1600, but the Visitation of Derbyshire has the family tree which suggests TRISTRAM STAFFORD as a possible candidate. He also had a first cousin called William who inherited before him, possibly explaining the confusion over names.

The Stafford family’s earliest known connection to Botham and Mellor can be traced to the marriage of William de Stafford of Botham, near Glossop, to Margaret, daughter of Roger de Mellor of the manor of Mellor, in the fourteenth century. At some point, the family erected Bothams Hall, which remained the family seat until it was sold by Thomas Stafford in 1704.

In the 17th century TRISTRAM STAFFORD of Botham married Christian Jobson, the daughter of Thomas Jobson of Cudworth. Their eldest son, Thomas (born c.1662) married Ann, daughter and heir of John Shrigley of Bollington in Cheshire, bringing the Bollington property into the family. Both Botham and the manor of Mellor were sold by this same Thomas and by the early eighteenth century the family were living in Stockport. Thomas had one son, Tristram, who married Elizabeth James of Kinnerston in 1711 but died without issue.

In 1734 John Stafford, the grandson of Thomas by his second son, John, married Lucy, the sister of prominent landowner William Tatton of Wythinshaw Hall. Their daughter Sarah was born two years later and it was her marriage, in 1761, to Henry Langford of Stockport that links the Langford and Stafford family to the Sykes of Sledmere and, through them, to the Yorks of Hutton Wandesley. In 1799 Henry and Sarah’s daughter, Lucy Dorothea, married the Reverend Christopher Sykes. Their daughter Penelope was born in 1810 and in 1837 she married Edward York, the son of Richard York and Lady Mary Ann Lascelles.

Regardless of the precise identity of the sitter, this is a fine example of Jacobean portraiture. The sitter is sensitively depicted, with his face revealing an alert intelligence. The costly silk clothing, with its subtle decoration, the fine ruff, and exquisitely worked belt buckle, are all well painted and make the point of the sitter's wealth.

PAUL VAN SOMER (c. 1577 – 1621), also known as Paulus van Somer, was a Flemish artist who arrived in England from Antwerp during the reign of King James I of England and became one of the leading painters of the Royal Court. He painted a number of portraits both of James and his consort, Queen Anne of Denmark, and of nobles such as Ludovic Stuart, Earl of Lennox, Elizabeth Stanley, Countess of Huntingdon, and Lady Anne Clifford. He occupied an important position as one of James and Anne's favourite painters and can be seen as a forerunner of the more famous Flemish and Dutch artists, in particular Daniel Mytens and Anthony van Dyck, who followed in his footsteps as leading court painters. Van Somer arrived in England as a mature artist, having travelled widely in northern Europe: Booth Tarkington names the year of his arrival as 1606.

SIZE: 30.75 x 24.75 x 1.5 inches including the frame.
PROVENANCE: *Yorkshire Private Collection.
*With Roy Precious Fine Art in 2011.
*Collection of a Lady.


SOLD...Portrait of a Young Girl c.1700, by ...

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Oil on canvas in 18th c. carved wood frame.

This beautiful portrait is a sophisticated and talented work, endearing in the frank gaze of the child, and technically accomplished...most notably in the skin tones and the treatment of the white linen.
The girl stands before an orange tree, these were an expensive luxury in Northern Europe, coming as they did from the warm South. The tree shows the wealth of the girl's family but also has considerable symbolic significance.

The orange tree bears leaves, flowers and fruit all at the same time. The leaves, which are evergreen, are the symbol of eternal love, the white flowers represent purity and generosity of spirit and the ripening fruit represent hope for the future of a family or dynasty.

Robert Byng (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of,and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

Size: 36.5 x 31.25 inches inc. period frame.

Provenance: a Norfolk Private Collection.

SOLD...Portrait of Charles Le Brun c.1670; Circle ...

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Oil on canvas in carved giltwood frame.

CHARLES LE BRUN (1619-1691). French painter and art theorist, the dominant artist of Louis XIV's reign. After training with Vouet he went to Rome in 1642 and worked under Poussin, becoming a convert to the latter's theories of art. He returned to Paris in 1646. From 1661 he became established in the employ of Louis XIV, in 1662 he was raised to the nobility and named Premier Paintre du Roi, and in 1663 he was made director of the reorganized Academie, which he turned into a channel for imposing a codified system of orthodoxy in matters of art. His lectures came to be accepted as providing the official standards of artistic correctness.
Despite the Classicism of his theories, Lebrun's own talents lay rather in the direction of flamboyant and grandiose decorative effects. Among the most outstanding of his works for the king were the Galerie d'Apollon at the Louvre (1663), and the famous Galerie des Glaces (1679-84) and the Great Staircase (1671-78, destroyed in 1752) at Versailles. His importance in the history of French art is twofold: his contributions to the magnificence of the Grand Manner of Louis XIV and his influence in laying the basis of academicism. Many of the leading French artists of the next generation trained in his studio. Artists over the whole of Europe accepted this style as the paragon of academic and propagandistic art. Lebrun was a fine portraitist and an extremely prolific draughtsman.

JOHN RILEY (1646-1691) began practising painting at a young age, which probably meant he was independently wealthy. He became a fashionable society portrait painter. At the height of his success, in the 1680s, Riley charged £40 for a full-length portrait, a considerable amount of money at this time. In 1689, together with Godfrey Kneller, he was appointed Principal Painter to King William III and Queen Mary.

SIZE: 35 x 30.25 inches inc. frame
PROVENANCE: Collection of Viscount Halifax,
given by him to Madame R. de l' Hopital.
Bought by Dr. William Lindsay Gordon at Christie's, 26 January 1968, lot 73 as by Kneller.
Dr. Gordon was a true conoisseur of the decorative arts; he travelled England collecting antiques with a British heritage especially of the Stuart period.


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 French Nobleman c.1700; Studio ...

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Oil on canvas in early 19th c. giltwood frame.

The aristocratic sitter holds a typical Baroque swagger pose, his right hand on a pile of books of which one is 'Regie de 1700' (Government of 1700).

HYACINTHE RIGAUD, (1659 - 1743), was one of the most important portrait painters during the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him.He and his friendly rival Nicolas de Largillière were their era's leading portraitists, but Rigaud painted aristocrats while Largillière concentrated on the wealthy bourgeoisie. Their differing approaches reflect their clients' status. Rigaud's sitters are shown in elegant stances of natural superiority; they are members of society whose costumes and gestures describe their function within the state. He combined Anthony van Dyck's prototypes and opulent style with Philippe de Champaigne's stiff, linear formality. In his unofficial portraits, however, Rigaud's interest in realism and character displays the influence of Rembrandt van Rijn. Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.

Rigaud studied in Montpellier and Lyon before arriving in Paris in 1681. He won the Prix de Rome in 1682 but on Charles Le Brun's advice did not go to Italy. In 1688 Rigaud's flattering, graceful portrait of King Louis XIV's brother brought him favour at court. His subjects included dignitaries at Versailles, visiting royalty, prominent artists, and church and military leaders. His studio employed both part-time specialists and full-time assistants like Jean-Marc Nattier. They often copied his portraits, which Rigaud touched up as necessary. Elected to the Académie Royale as a history painter in 1700, Rigaud later taught there.
In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Rigaud died in Paris in 1743 at the age of 84.

SIZE: canvas 45 x 35.5 inches.
Framed 53 x 43.75 inches.
*The Bryan Hall Collection, Banningham Old Rectory, Norfolk (see image 6).(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). His collection was dispersed in 2004.
* Private Collection.

Portrait of Prince Rupert 17th century; Attributed ...

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Oil on panel in a good 18th century carved and giltwood frame.It shows Rupert at about the age of 14 when he first became a soldier. After a pattern favoured by van Honthorst who painted Rupert, at different ages, several times.
An early owner's seal to the verso.

This type and size of portrait were, by the reign of George III attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio.

Difficult to date precisely, most of these reduced copies were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures, adorning the private walls of Royalist supporters.

Rupert, Count Palatine of the Rhine, Duke of Bavaria, Duke of Cumberland, Earl of Holderness, commonly called PRINCE RUPERT OF THE RHINE, KG, PC, FRS ( 1619 – 1682), was a noted German soldier, admiral, scientist, sportsman, colonial governor and amateur artist during the 17th century. Rupert was a younger son of the German prince Frederick V, Elector Palatine and his wife Elizabeth, the eldest daughter of James I of England. Thus Rupert was the nephew of King Charles I of England, who made him Duke of Cumberland and Earl of Holderness, and the first cousin of King Charles II of England. His sister Electress Sophia was the mother of George I of Great Britain.

Prince Rupert had a varied career. He was a soldier from a young age, fighting against Spain in the Netherlands during the Eighty Years' War (1568–1648), and against the Holy Roman Emperor in Germany during the Thirty Years' War (1618–48). Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War (1642–46), becoming the archetypal Cavalier of the war and ultimately the senior Royalist general. He surrendered after the fall of Bristol and was banished from England. He served under Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean. Following the Restoration, Rupert returned to England, becoming a senior British naval commander during the Second and Third Anglo-Dutch wars, engaging in scientific invention, art, and serving as the first Governor of the Hudson's Bay Company. Rupert died in England in 1682, aged 62.

Rupert is considered to have been a quick-thinking and energetic cavalry general, but ultimately undermined by his youthful impatience in dealing with his peers during the Civil War. In the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his later years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navy's doctrine and development. As a colonial governor, Rupert shaped the political geography of modern Canada—Rupert's Land was named in his honour. Rupert's varied and numerous scientific and administrative interests combined with his considerable artistic skills made him one of the more colourful individuals of the Restoration period.

REMIGIUS VAN LEEMPUT,(1609?–1675), painter, born at Antwerp about 1609, came to England in Charles I's reign, and among other works for that king he made a small copy in oils of the famous painting by Holbein at Whitehall of Henry VII, Henry VIII, and their queens, which was afterwards destroyed by fire.

SIZE: 20.25 x17.50 inches inc. frame.
PROVENANCE: Sussex Private Collection.

SOLD.....Portrait of a Gentleman 1743 attributed to ...

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Oil on canvas in reproduction frame.

A portrait of a gentleman, the canvas inscribed 'M V Pinxt 1743' (M V painted this in 1743).

The subject has his right hand tucked into his coat; this was the accepted symbol of the sitter being a gentleman, who did not work for a living, rather than, for example, a prosperous merchant or lawyer.
His left arm rests upon a plinth...this also is symbolic, signifying the architecture of a large house and estate.
The man stands in a straight backed pose wearing a serious expression, this being considered the correct way for a gentleman of wealth and breeding to present himself to the world.

This is a 'textbook example' of mid 18th c. British portraiture.

Almost certainly this gentleman is the husband of the sitter in portrait 8410, 'Portrait of a Lady 1743; attributed to Moses Vanderbank'.

The portrait is very much in the style of JOHN VANDERBANK (1694-1739), especially the rubbed highlights and the treatment of the flesh tones - where a hot pink and cool grey-green are juxtaposed to suggest glowing skin.
These are Vanderbank's 'trademarks' and instantly recognisable.

However, John died four years before this painting was created.
I believe the answer is that the portrait is by his younger brother MOSES VANDERBANK (1695-after1745). He was a pupil of John's and has followed his brother's manner well. John nearly always signed and dated his portraits, it seems that Moses was influenced even by this.
No other works by Moses have survived, apart from three altarpieces in the 12th c. church at Adel, near Leeds.

Moses Vanderbank was even more improvident than his elder brother who was notorious for drunkenness and debt...it was said that only intemperance prevented John from being the best portraitist of his generation.
Moses did not have a talent as great as his brother's, but, as can be seen here, he could produce a portrait of charm and competence.

SIZE: 36 x 28 inches unframed

PROVENANCE: an East Anglian Collection for many years.