Large Chinese Qianlong Dynasty (1736-95) blue and ...

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A large 18th century Chinese porcelain baluster shaped vase, the cover possibly associated, the neck decorated in underglaze cobalt blue with stiff plantain leaves above a key fret border and a band of ruyi heads, over two four clawed dragons writhing amongst chrysanthemums and lotus scrolls etc. with Ming style lappet base

The dragon in Chinese mythology is lord of the skies and benevolent bringer of rain. In addition, therefore, to symbolising authority, strength and goodness, as of the emperor, it is also symbolic of fecundity and fertilty.
The lotus conveys the notion of happiness in maturity, creative power and genius. In nature the lotus grows in muddy water but emerges clean from it, thus symbolising purity in adversity.

SIZE: 61 cm tall (25 inches).
PROVENANCE: Private Collection, Cheltenham.
CONDITION: Although suffering from some chips and old poor quality repairs, this vase is of an impressive size and has considerable beauty and presence, the damages not being obtrusive.

Portrait of a Young Boy of the ...

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Oil on canvas in a fine carved and giltwood period frame.
This is a charming portrait of a boy indulging in the sport of archery, considered an appropriate pastime for a young aristocrat.
Over the years the name of the sitter and the artist had been forgotten; the portrait was described as 'English School, a boy as Cupid'. Once a picture hanging support was removed from the back an old handwritten label saying TOWNSHEND HEIRLOOMS was visible. There were two great sales of pictures from Raynham Hall, Norfolk, seat of the Marquess and Marchioness Townshend, the second was conducted by Sotheby's on the 14th June, 1911. Library Ireland, in 1913, mentions Charles Jervas, in a list of his 'principal paintings', as having created 'Boy with Bow and Arrows, standing in a Landscape', and it being sold in the Townshend Heirlooms sale of 1911.
There is little doubt that this is that painting by Jervas. The sitter is most probably a member of the Townshend family. Charles Townshend is the most likely. He became 3rd Viscount Townshend of Raynham and was born on 11 July 1700. He was the son of Charles Townshend, 2nd Viscount Townshend of Raynham and Hon. Elizabeth Pelham. He married Audrey Ethelreda Harrison, daughter of Edward Harrison and Frances Bray, on 29 May 1723. He died on 12 March 1764.

CHARLES JERVAS (also Jarvis; c. 1675 – 2 November 1739) was an Irish portrait painter, translator, and art collector of the early 18th century. Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.
Painting portraits of the city's intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.
With his growing reputation, Jervas succeeded Sir Godfrey Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739.
SIZE: 35.5 x 32.25 x 2.75 inches including the frame.
PROVENANCE. Raynham Hall, Norfolk. Sold at Sotheby's 1911. Private collection, Derbyshire, for many years.

Portrait of a Lady c.1665; Attributed to ...

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Oil on canvas in a magnificent 19th century frame.
The frame bears a gilt label attributing the portrait to Sir Peter Lely; in the 19th century many portraits were miss-attributed to Lely and Kneller. Fine artists like Huysmans, Dahl, Richardson etc were forgotten until later scholarship and research 'rediscovered' them.

The sitter, more than likely a lady of Queen Catherine's court, is depicted in the mythical realm of Arcady, a fashionable conceit of the time. Arcady, or Arcadia, was a mythological land, home of the god Pan, where love and peace reigned.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain.
The lady's dog, a King Charles spaniel very fashionable at the time, laps at the water.
The fountain makes an allusion to her potential as a wife and mother, recalling Proverbs, chapter 5, verse 18 "Let thy fountain be blessed, and rejoice in the wife of thy youth".
The spaniel, as well as being a fashionable accessory, also represents faith and trust.
There is little doubt that this portrait represents a celebration of the young lady's forthcoming marriage.

JACOB HUYSMANS (c.1633–1696) was a Flemish portrait painter. He moved to England during the reign of Charles II where he became one of the fashionable painters of the court. His chief portraits are those of Izaak Walton and Catherine of Braganza, Charles II's wife (both displayed in the National Portrait Gallery, London)
He was born into a family of artists in Antwerp. He was the uncle of Jan-Baptiste and Cornelis Huysmans. He learned to paint from Gilles Backereel and Frans Wouters and moved to England, where he later influenced David des Granges (1611–1675). His first works were pastiches of work from Anthony van Dyck. As a Roman Catholic he was favoured by Catharine of Braganza. When Samuel Pepys visited his workshop in Westminster on 26 August 1664, he described him as a 'picture-drawer ... which is said to exceed Lilly" (Lely). Huysmans's most important portrait of Catharine of Braganza, Queen Catharine as a Shepherdess (c. 1664; Brit. Royal Col.), was one of the pictures Pepys saw on that occasion. Painting his female subjects as shepherdesses with clothing embellished with embroidery and jewellery were typical of his style.

Huysmans’s exuberant style was particularly favoured by Charles II’s Portuguese wife, Queen Catherine. He often depicted female subjects in the guise of religious or classical figures and laid particular emphasis on the interplay of light, colour and contrasting textures; crumpled satin against porcelain skin, or glossy ringlets interwoven with pearls.

Huysmans’s handling of paint and application of colour, often manipulated to prettify his female subjects, is redolent of the Italianate, Van-Dyckian style. His hand can often be identified from his high-keyed colours, reddish lights prevailing in the flesh tones, and smooth, glossy finish. Furthermore, his work displays a similar poise and grandeur - evident in the art of Italian Guido Reni and the seventeenth-century Bolognese school - which so appealed to the Catholic taste of Queen Catherine. Huysmans especially relished painting the rich colours and textures of sumptuous courtly attire, favoured by the most fashionable at court.

Huysmans died in Jermyn Street, London, in 1696, and was buried in St. James's Church in Piccadilly.

SIZE: 63.75 x 53.5 x 5.25 inches framed.
PROVENANCE: Latterly in the collection of an aristocratic family.
Verso: A 19th century label 'G.E. CLIFFORD, Picture Restorer. Successor to Mr. E. Facon Watson' and a later, but old, label 'John King, dealer in Works of Art, 83 Renhaw Street, Liverpool.'

SOLD....Portrait of Dr. William Bell c.1812; Scottish ...

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Oil on canvas laid on board in gilt frame.

This superb portrait is of Dr. WILLIAM BELL, almost certainly painted on his graduation in 1812.
Bell was born on 15 March 1792 in Bedrule, Roxburghshire. He was the son of William Bell and Markie Minto. William Bell was baptised on 25 March 1792 at Bedrule, Roxburghshire.
He graduated in 1812 from Edinburgh M.D. He entered military service as a Hospital Mate for General Service 24 August 1812, promoted Assistant Surgeon 56th (or the West Essex) Regiment of Foot, 4 Mar 1813; 40th (or the 2nd Somersetshire) Regiment of Foot 20 Sept. 1827; Surgeon 26th (or the Cameronian) Regiment of Foot 15 Mar 1831: Staff Surgeon 1st Class 7 June 1844; Deputy Inspector General of Hospitals 12 Mar 1852; Inspector General 7 Dec 1858. Granted local rank of Inspector General 18 Sept. 1857 to 6 Dec. 1858.

"Dr. Bell's services extended over a period of 47 years. He served in Holland during the campaign of 1814; and was at both attacks of Merxem and at the bombardment of Antwerp; he was surgeon of the 26th. (or the Cameronian) Regiment of Foot throughout the war in China in 1840 to 1842, and was present on every occasion on which the Regiment was engaged. (Medal and clasp.){ see Image 5}. He served also during many years in Mauritius, India, Canada and Nova Scotia, and died leaving a widow and five children dependent chiefly on their Pensions."

The first Opium War took place 4th July 1840 - 17th August 1842. Three battalions of British infantry (18th, 26th and 49th Foot) were sent from India and Ceylon and were supported by a detachment of Artillery.

The force arrived off Macao on the 21st June and, a week later, entered Chusan harbour and began a blockade of which the Chinese took little notice. Sickness developed in the British force on an appalling scale. The 26th Foot which had arrived 900 strong had no more than 140 fit men by the end of 1840, and of a force originally numbering 3,000, 450 had died and 500 were in hospital.

In January 1840 an amphibious attack was made up river towards Canton. The forts defending that city were taken but protracted negotiations for an armistice delayed operations. The Chinese then counter attacked in April, as a result of which the British force staged a full scale attack on Canton itself. Canton was defended by 45,000 Chinese troops, but the 3,500 soldiers, marines, and seamen under General Gough routed the Chinese and captured the city.

William Bell married Zébée Stewart Gordon, daughter of Maj. Gen. Alexander Gordon R.E. and Zébée Anne Rose Touzi, on 22 October 1850 in St. George's Church, Montreal, Canada, the service was conducted by the Rev. William Bond.
Dr. Bell retired on half pay on 31 December 1858; he wrote a number of published articles.
In 1860, his address was Jedburgh, Scotland. He died on 4 November 1862 suddenly at Boundary Bank, Jedburgh, at the age of 70; at half past four in the afternoon, and was buried on 8 November 1862 in the Old Churchyard, Ancrum. (see Images 7 & 8).

William and Zebedee had five children:-
Zébée Minto Bell b. 17 Jul 1851, d. 21 Jun 1928
Amy Gordon Bell b. 10 May 1855, d. 25 Dec 1931
Helen Symonds Dobree Bell b. 6 Sep 1856, d. 27 May 1947
William George Gordon Bell b. 28 Feb 1860, d. 4 Jul 1888
Rose Annie Stewart Bell b. 29 May 1862, d. 23 Apr 1942

Image 6 shows Menslaw House, owned by the Bells until 1860.

The above information on Dr. Bell came from the website 'Sewall or Sewell of Coventry' by John Rees.

SIZE:30 x 26 inches inc. frame.
PROVENANCE:* by family descent.
*Deceased estate in Exeter.


A Riverside Town c. 1780; Dutch School. ...

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Oil on canvas in the original giltwood frame.

A charming Dutch painting in the Italianate style that was fashionable with Dutch artists from the mid 17th century into the 19th. Inspired by the sophisticated compositions of the Italian masters this, as yet unknown, artist has filled his scene with warm, Mediterranean light.
Italianate landscapes were the most influential and highly regarded.
From the 17th century a trip to Italy was considered an important part of an artist's training. Dutch painters went there to study the landscape, ancient ruins and sculptures, and the unique light. On their return to the Netherlands, many of these artists continued to paint Italianate landscapes, others adapted what they had learnt to suit the Dutch taste for religious and secular paintings.

SIZE: 17.5 x 20.5 inches inc. frame.
canvas: 14 x 16.5 inches.
PROVENANCE:Private Collection, Oxford.

Portrait of Sir John Leigh c.1675; Attributed ...

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Oil on canvas in a carved gilt wood and composition frame.

This portrait of Sir John Leigh has a very direct feel, the sitter looking out with a level gaze.
Which branch of the Leigh family belongs to the sitter is not known for certain, though it may be the Sir John Leigh of Addington, Surrey, who died in 1737. Addington House was the home of the Leighs from the early 1500s until the death of Sir John when its ownership was disputed in a court of law for 40 years. In the early 1800s it became, after total rebuilding, Addington Palace, as a country home for the Archbishop of Canterbury.

JOHN GREENHILL (c.1644-1676), was an English born portrait painter whose initial training is unknown but who rivalled the leading London artists of the seventeenth century.

The Restoration of King Charles II (1630-85) stimulated an upheaval within the cultural sphere, in particular artistic patronage. Portrait painters such as Sir Peter Lely quickly found favour amongst the highest ranks of society, and as a result many continental artists migrated to England in a bid to win the patronage of the monarch, prosperous courtiers and powerful statesmen. Greenhill was amongst very few English artists able to compete with the popularity and skill of foreign artists and just one month before his premature death, he was still considered one of the most talented portrait painters of the age.

Of all the artists to emerge from the studio of Sir Peter Lely (1618-80) – the dominant artist in England in the late seventeenth century – John Greenhill was, as George Vertue noted, “the most excellent.” He is known to have joined Lely’s studio by 1662, but seems to have left fairly soon afterwards to establish his own practice. Vertue claimed that Lely was jealous of his pupil’s ability. He was commissioned to paint a number of leading figures of the court, including Anne, Duchess of York, and even the King. However, his dissolute lifestyle led to the end of promising career – he died barely into his thirties, after falling into a gutter, drunk, in Long Acre, leaving a wife and young family behind.

SIZE: 36.25 x 31.25 inches including the frame.
PROVENANCE: Deceased London estate related to the sitter. His name is known through a 1950s insurance valuation of this painting and a companion portrait of his wife which was inscribed verso.


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

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Oil on canvas in a giltwood late 18th century frame bearing the incorrect inscription 'Sir Peter Lely'.
Originally an oval, the painting was made rectangular probably in the 18th or 19th century. There was a craze for having portraits re-framed en-suite, and this one was almost certainly a victim of that fashion.

This is a typical portrait of the period; the lady regards the viewer with a quiet confidence, her hair in the fashionable style as is her 'undress'. The robe open to show her chemise, and a silk wrap draped over one shoulder...this relaxed style of dressing for one's portrait was encouraged by artists as it was a lot easier and quicker to paint than elaborate formal daywear.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact, and this unknown artist, emulating his style has managed to catch some of that.

SIZE: 33 x 27 x 2.5 inches including frame.
PROVENANCE: West Yorkshire Private Collection.

Portrait of Dorothy, Lady Townshend c.1710; Attributed ...

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Oil on canvas in gilded frame.
Portrait possibly of DOROTHY, VISCOUNTESS TOWNSHEND (1686-1739).
Dorothy was the sister if Sir Robert Walpole, England's first prime minister who was a close friend and political ally of Charles, Viscount Townshend of Raynham, leader of the House of Lords. They dominated Whig party politics but later fell out.
Lady Townshend was a favourite sitter of Jervas, being painted on several occasions. As well as painting portraits of several members of the Townshend family, Jervas restored and reworked earlier portraits at Raynham Hall, Norfolk.

Dorothy had been Lord Townshend's first love but her father was the young man's guardian and forbade the match; in was not until the death of Townshend's first wife that they married in 1713.
The union produced three children.
In the meantime Dorothy had become involved with the profligate Lord Wharton. When Townshend discovered this after their marriage he confined Dorothy to her rooms at Raynham Hall, where she died of smallpox although there were rumours of more sinister causes of death.

Lady Townshend's ghost, known as 'The Brown Lady' (because of the colour of her gown) is said to haunt the oak staircase of the hall and photographs purporting to be of the phantom are are among the most famous depictions of ghosts.
(Image 4 shows Raynham Hall)
(Image 5 is one of the photographs taken in 1934 of the Brown Lady.)

CHARLES JERVAS (c. 1675 – 1739) was an Irish portrait painter, translator, and art collector.
Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.
Painting portraits of the city's intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James's, which Pope mentions in his poem, To Belinda on the Rape of the Lock, written 1713, published 1717 in 'Poems on Several Occasions'.
With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739.

SIZE: 34 x 28.5 inches inc. frame.
PROVENANCE: Wiltshire Private Collection.

SOLD...Portrait of a Lady in White; Studio ...

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Oil on canvas mounted on board in a magnificent 'Duveen' Louis XV style 19th c. carved and giltwood frame of great quality.
(Frame bears an old plaque incorrectly attributing the portrait to Reynolds).

With Gainsborough and Reynolds, JOHN HOPPNER (1758 - 1810) was one of the leading portrait painters in late eighteenth-century Britain. He entered the Royal Academy Schools in 1775, where he won a Gold Medal in 1782. His rapid rise was accompanied by rumours (never denied by Hoppner) that he was the illegitimate son of the future King George III, and it is true that in his education and early career Hoppner benefited from a considerable degree of royal sponsorship. He was brought up as a child of the Chapel Royal, tutored in the Royal Library where King George paid great attention to his progress, and finally presented him with an allowance in order that he might establish himself as a painter.

By the late 1780s Hoppner was a regular contributor to the Royal Academy exhibitions and quickly established himself as a fashionable portrait painter. In 1789 he succeeded Reynolds in his appointment as painter to the Prince of Wales in 1789, many of whose circle he painted.

Though his early works display a great debt to Reynolds, Hoppner soon developed an individual style that is distinguished by bravura and vivacity, combined with a strong feeling of character. These works show a deliberate move away from the classicism of Reynolds, towards a more emotionally engaging and naturalistic image. Hoppner’s success is evident by the fact that he became the only serious rival to Lawrence, and with him was responsible for painting the finest Romantic portraits of the Regency period.

Although this portrait is by an artist painting in the style of Hoppner (rather than by Hoppner himself) he has captured precisely the bravura technique, the bold brushwork, the painterly delight in using the medium and the sense of harmonious feeling which were characteristic of the artist.
While Reynolds’ advised his pupils to rely upon academic study, preparation and drawing, Hoppner preferred to begin working immediately with oils on the canvas. It was precisely this free and fluid approach that allowed Hoppner to capture character, emotion and presence.

SIZE: 56.5 x 46 inches inc. frame
43 x 35 inches canvas size
PROVENANCE: From the London apartment of Laurence Kane, the noted New York decorator.


Early 17th century miniature table cabinet.

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This is an extremely rare piece of furniture of great quality, it is dated 1623 beneath the image of the lady, and the initials (partly erased) HM beneath the man.
These initials are repeated above the central drawer.

The doors, top and sides all with ivory line inlaid panels of stylised flowers, the doors enclosing an arrangement of panelled small drawers, the central deep drawers with ivory inlaid urn of flowers and portico cresting to the drawer above, the inside of the doors inlaid in ivory with a full length portrait of a man and a lady within arched surround.
Continental, most likely Flemish, it is almost certain that this masterpiece was made to commemorate the wedding of the two people depicted on the doors and as a gift to the bride.

The large central drawer has a secret sliding compartment, which when opened contains a mother of pearl gaming token.

DIMENSIONS: 8 inches wide (closed) 16 inches wide (open), 6 inches tall, 4.75 inches deep.
PROVENANCE: a long standing French Collection.

Portrait of Lady Catherine Stanhope c.1706; by ...

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Oil on canvas in a rare late 19th /early 20th century papier-mache and wood frame. Frames of this type were first made in the early 18th century, but not many have survived.
Inscription, upper right: "Cath(er)ine: dau(ghte)r of 2nd Earl of Chesterfield. Mar(ried)Sir Godfrey Clarke Bart".
CATHERINE STANHOPE, (1675-1728) daughter of Philip Stanhope, 2nd Earl of Chesterfield , married Sir Godfrey Clarke in June 1706; probably this portrait was painted to mark the occasion. She is buried in the Church of St. Peter and St. Paul, Brampton, Derbyshire, where her fine and grand memorial still exists.
Her husband, who was the son of Sir Gilbert and Barbara, Lady Clarke, born in 1679, died in 1734. He had been Deputy-Lieutenant of Derbyshire in 1702, and was High Sheriff from 1705-1706.

This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement.
MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes. His portraits of women show greater modesty and refinement, with none of Kneller's occasional brashness.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the Royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and the National Maritime Museum, Greenwich.

SIZE: 39 x 35.5 inches including the frame.
PROVENANCE: Sussex Private Collection, but bought in the USA about 40 years ago.

Portrait of a Gentleman late 1920s/early 1930s, ...

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Oil on canvas, unframed.

A sensitive portrait of a young man, identity unknown.
This is a good quality paiinting by an artist of considerable talent, as yet unidentified.
The technique and the casual attire of the sitter are typical of the period and ecocative of that time between the wars when the 'jeunesse doree' flourished...'flappers', sports cars and jazz soon to be overshadowed by the rise of Nazism and young men like the sitter would change their cravats and casual clothes for uniform.

SIZE: 30 x 25 unframed
PROVENANCE: Private Collection, an Elizabethan country house in East Anglia.