Portrait of James Bishop c.1703, by Bartholomeus ...

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Oil on canvas in the original fine carved and giltwood frame. Inscribed upper left 'James Bishop. Born May 7 1690'.
James Bishop of Lower Tre-Kyninge, Cornwall, has reached the age where it is appropriate to wear the large full bottomed wig so fashionable at the time; his hand held elegantly in a pose much favoured by gentlemen and aristocrats.

The Bishops were a Cornish gentry family, possessed of several estates. However, when Anne Bishop, sole daughter and heiress of James Bishop Esq, of Lower Tre-Kyninge, married Hugh Rogers Esq, High Sheriff of Cornwall, in 1770, all Bishop possessions passed to the Rogers family.
In late 2018 Charles Rogers of Penrose House died, and in 2019 this portrait and others were sold.
This portrait is not signed by the artist, but others in the collection were, and it is obvious that the same hand was responsible. The signature was 'B. Burghende'. This was Bartholomeus van Burgindis, a Dutch artist, working from 1663-1703. He painted many of the Cornish gentry and one of his portraits is in The Royal Cornwall Museum; Dr. Nathaniel Spry, dated 1703.

SIZE: 34.5 x 29.25 inches including the frame.
PROVENANCE: By descent through the Bishop and Rogers families of Penrose Estate, Porthleven, Cornwall.

George III mahogany corner cupboard c.1770.

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A floor standing mahogany corner cupboard c.1770, with exceptionally fine figuring and colour and shaped shelves to the interior.
The cornice is later as are the 'returns' to the sides which have been shaped for skirting boards. Originally the cupboard may well have been built into a grand house.
An extremely handsome and useful piece of furniture.

Size: 81 in. tall, 44 in. wide.
PROVENANCE: Sussex Private Collection.
Yorkshire Private Collection.

Portrait of Francis Gregor 1713, by William ...

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Oil on canvas in a gilltwood frame.

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

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

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

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

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

Portrait of a Young Boy 1692; Follower ...

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Oil on canvas in a period frame. Inscribed "ATAT SUAE 4. ANNO DNI 1692" (At his age of 4, in the Year of our Lord 1692).
This is a portrait of great charm; the young sitter is depicted within a fashionable feigned oval, unusually, his hand is shown resting upon it....almost like a trompe l'oeil.
He wears the clothing of a member of the gentry and has the air of confidence thought befitting for one of his class. He still wears a skirt at this age, boys were not 'breeched' until the age of 6 or 7 and this was an important event, marking his progress towards adulthood.
The artist was probably provincial but aware of the extremely fashionable artist Nicholas de Largilliere (1656-1746).

SIZE: 35.5 x 29 inches.
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.
The final image shows the verso of the canvas before conservation.


Portrait of a Young Gentleman of the ...

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Oil on unlined canvas in a later gilded period style frame.

A good quality 18th century portrait of a gentleman, traditionally held to be Sir Henry Blunt as a young man.

The traditional identification is unlikely, as Sir Henry, the second baronet, was born in 1696 and died in 1759.
The sitter is more likely to be Sir Charles William Blunt, 3rd Baronet (1731-1802).
He was the son of Sir Henry Blunt, 2nd Bt. and Dorothy Nutt. He was baptised on 24 September 1731 at St. Lawrence Poultney, London, England. He was admitted to the Middle Temple.
He married Elizabeth Peers, daughter of Richard Peers and Anna Sophia Symons, on 22 July 1764 at St. George's Church, Queen's Square, London, England. They had nine children and lived at Clery, Hampshire, England.
Blunt died on 29 August 1802 at age 70 at Pullah, near Calcutta, India. He was buried in Calcutta, India

THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.

SIZE: 41 x 33.5 inches inc. frame.
PROVENANCE: *By descent.
*Sold at auction 3 March 1982.
*Private Collection, London.

Portrait of a Lady c.1700, by Michael ...

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Oil on canvas in a gilt 19th century frame.

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. She wears the fashionable 'undress' and her hair is tied with blue silk ribbons.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here the sitter looks out at the viewer with a quiet and intelligent good humour, with just a hint of seductiveness in her eyes...in every way this is a superb portrait.

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 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 National Maritime Museum, Greenwich.

SIZE:37 x 32 inches including the frame.
PROVENANCE: Possibly a member of the Weldon family of Hampshire. It was in their collection since at least the 1900s when it was in the inventory compiled by Colonel Weldon.


Portrait of Marjorie McInnes 1921 by Cowan ...

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Oil on canvas board in a glazed modern gilt frame.
Signed and dated.
A charming portrait of Marjorie McInnies,a pretty young girl, painted in 1921, when she was four, by David Cowan Dobson.

MARJORIE MARY MCINNES OBE, (1917-2015) Marjorie was the daughter of Robert and Nettie McInnes. She had an older sister, Eileen, and a younger brother, Roy. They were born into a wealthy timber merchant family which fell upon hard times in the late 1920s. Her father died when she was ten. While she began her education at Craigholme School she completed it through a bursary at Hutcheson Girls Grammar School in 1934.

Initially she found work in a publishing house, and on leaving that got a job as a bank clerk. Her teenage years were beset by illnesses which she finally overcame.
Marjorie obtained the Diploma in Social Services from Glasgow University in 1939, there being no degree course at that time, and proceeded to train as an almoner (later called medical social worker) at the Institute of Almoners in London. She qualified in 1940. Her first posts were in 1941-42 working as an almoner at Hull Royal Infirmary, Stafford Royal Infirmary and as a caseworker at Greenock Social Services Council. These were all locum posts.
For a brief period in 1942-43 she worked in Southport, but on hearing that her brother, who was in the RAF, had been killed over France she returned to Scotland. From November 1943 to May 1948 Marjorie was almoner at Hairmyres Hospital, East Kilbride. She was exempt from war service as this hospital had a military wing but she was active as a volunteer in civil defence.

One of Marjorie’s great achievements was the work she undertook between the years 1949-52 as one of the social work representatives on the Cope Report, set up to establish a register for all medical auxiliaries. Marjorie and her colleague objected vehemently to almoners being included as auxiliaries and were finally successful in the establishment of social work as a separate profession.

During the years 1948-1953 Marjorie held the post of Head Almoner at the Victoria Infirmary in Glasgow and from 1954-57 was Head Almoner at Western Infirmary, Glasgow. During this period she also had a part-time teaching post in the University Department of Public Health and Social Medicine.
In 1969 Marjorie was appointed Deputy Chief Social Work Adviser within the Central Advisory Service of Social Work Services Group.
She held this post with great distinction and was held in the highest regard by all her ?colleagues throughout the Scottish Office.

Her retirement at the age of 61 in 1978 was the commencement of a new career serving within the Scottish voluntary sector. She contributed another two decades of guidance and oversight to many major Scottish charities. It was the recognition of her work as Convener of the Scottish Council on Disability which led to her being honoured by the Queen in the New Year’s Honours List for 1982.
Marjorie’s Christian faith enriched everything she did and achieved. She was a lifelong member of Adelaide Place Baptist Church – where she served as Deacon and subsequently Honorary Deacon – and also the wider denomination of the Baptist Union of Scotland through the Scottish Baptist College. In 1990 she was elected President of the Union – the only woman to have achieved this position.
(Our thanks to Patricia Leary for information on Marjorie)

DAVID COWAN DOBSON (1894–1980), referred to as 'Cowan' Dobson, Associate of the Society of Royal British Artists (1919),Member of the Society of Royal British Artists (1922), Member of the Royal Society of Portrait Sainters (1963); he was a leading Scottish portrait artist who painted with bravado and style, and in this intimate portrait there is a painterly delight in the handling of the medium - the brushwork to the dress very fast and impressionistic.

SIZE:25 x 21 inches inc. frame.
PROVENANCE: Scottish Private Collection.

Portrait of a Lady 1631, by Jan ...

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Oil on marouflaged panel in good quality 18th century carved and giltwood frame.
Signed with initials and dated 'Anno. 1631. JVR" upper right.

A superb portrait of a gently smiling young woman; she wears a pearl necklace, the essential accessory of the period, but modestly conceals it beneath her fine muslin. No such modesty however, for the magnificent jewellery she wears across her bosom.
Her black clothing, fashionably slashed, is of the finest quality, beautifully decorated and contrasting with the exquisite white lace spread across her shoulders. In the work of great portraitists black is never dull, its pictorial potential is fully utilised. 
Black is an ideal background against which gold can stand out to dramatic effect and to contrast with the crisp white linen and lace. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of the 17th century Dutch portrait.

The theory has been put forward that the sitter is Amalia van Solms, wife of the Dutch Stadtholder (and grandmother of England's William III), who was painted many times by many different artists.
However, we consider this unlikely, as does Fred Meijer, curator at RKD, Netherlands Institute for Art History, at The Hague. 'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. Otherwise this appears to be a fully characteristic work by the artist.'
Regardless of the identity of the sitter this is a superb and sensitive portrait by a famous artist from the Netherland's Golden Age of painting.

(c. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague. He was working there for the Stadholder's Court, for local patricians and for the upper classes of other cities in the Southern part of Holland and in Zeeland. 
His sitters are often depicted with rich costumes in the latest fashion, intentionally alluding to their wealth and status.
His earliest signed work is the well-known tondo portrait of the young Hugo Grotius, dated 1599 (Fondation Custodia, Paris). 
As early as 1604 Karel van Mander mentioned the artist as one of the most competent portraitists of his time. A large number of signed and dated works from the next decades - especially from the year 1611 - are known, including several group portraits of the Hague civic guard. 
The last dated portraits are from 1641, leading to the conclusion that the painter produced little, if anything, in the last fifteen years of his life. The general style of his work is closely related to that of the Delft portraitist Michiel Jansz. van Mierevelt (1567-1641), but is generally less dry and often more flattering than the latter’s.
SIZE: 28 x 24.25 inches panel size.
34.5 x 31.5 inches inc. frame.
*Collection of Alfred Morrisson M.P. of Fonthill House, Tisbury, Wiltshire. (see image 10). Alfred Morrisson (1821-1887) was an outstanding collector of fine and rare items.
*Latterly in the Private Collection of a Lady.
VERSO: two Victorian printed labels bearing much information of "M & B Bartington; Est. 1836. No. 58 Wardour Street, Soho" framer and restorer.
Victorian handwritten label "Alfred Morrisson Esq. No. 106. Three quarter picture of Dutch Lady by Jan van Ravesteyn. 20/12/87".

Portrait of William Helyar c. 1745: English ...

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Oil on canvas in a carved and giltwood frame.

The sitter, William Helyar (1723 - 1784) was a member of the family that owned Coker Court and had lordship over East Coker, Somerset from 1616 to 1914. They also had an estate at Canonteign in Devon, and Sedghill in Wiltshire. The family came originally from Devon, where they seem to have been of importance as the William Helyar of that time represented Melcomb-Regis in Parliament in the reigns of Richard II and Henry IV.

William Cary sold the manor of East Coker in 1620 to William Helyar, archdeacon of Barnstaple, to be settled on the marriage of Christian or Christine, William Cary's eldest daughter, to Henry, son of William Helyar. Henry (d. 1634) was followed by his son William (d. 1697), his grandson William (d. 1742), and his great grandson William Helyar (d. 1784) who married Betty Weston. They had four daughters and six sons..William, his heir; Robert of Newton Park, Cornwall, who died in the army aged 23; Weston, who succeeded his brother at Newton Park and was a magistrate for Somerset; Edward, born 1743; Charles born 1750, an officer in the army, killed in the American War; John, in holy orders, rector of Hardington and Tollard Royal, in Wiltshire.
William was Sheriff of Somerset in 1764.

In 1812 William Helyar (d. 1820), son of the last, gave the manor to his son William (d. 1841) and he was followed in the direct male line by William (d. 1880) and Horace (d. 1893). Horace was succeeded by his daughter Dorothy who married Godfrey Walker Heneage. In 1914 the estate was put up for sale but lordship was not included.

(Coker Court is shown in Image 5)

SIZE: 35 x 30 inc. frame.
PROVENANCE:Deceased estate, Sussex.
Verso: old handwritten label; "William Helyar, eldest son of Mr. Helyar of Canonteign". Plate on the frame has the same inscription.

Portrait of Lady Cole c.1700; Follower of ...

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Oil on canvas in a reproduction frame. Inscription, upper left, 'Lady Cole'.

The sitter regards us with an even gaze, typical of the 'Augustan' style of portrait so fashionable at this time. A robe, in the manner of Classical statuary, is draped over her shoulder; she touches it delicately. No jewellery is worn as the entire point of this fashion was to create a timeless Graeco/Roman image with its suggestions of ancient aristocracy and aloof style.
Sir Godfrey Kneller was the master of this style and was much emulated by other artists, such as this one.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with 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: 34.5 x 29.75 inches including the frame.
PROVENANCE: Mawley Hall, Shropshire, built in the early 18th century by Sir James Blount, 4th baronet. See images 7 and 8.

Qing Dynasty garden seat

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A Qing Dynasty, c.1880, pottery garden seat of an exceptionally pleasing glaze and colour.
In Chinese symbolism the ancient swastika motif represents the heart of Buddha, all happiness, the mind and infinity.

This decorative and useful stool would be equally at home in a garden, conservatory or living room.

SIZE: 19 inches tall
CONDITION: one small chip to a bottom angle (shown in photograph); one swastika motif has been broken and glued, glaze to the top slightly rubbed,
some chipping to foot of stool (can be seen in photograph).
PROVENANCE: With one family since c.1900.

Portrait of a Gentleman c.1695; by John ...

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Superb quality portrait, oil on canvas, later mounted on board, in the original fine carved and giltwood 17th century frame. This excellent portrait is typical of the height of the Baroque period; the handsome sitter relaxes in an expensive and fashionable silk 'tea gown', his costly wig flows over his shoulders.

JOHN CLOSTERMAN (1660-1711) was born in Osnabruck, the son of an artist. His early training was from his father, but in 1679 he moved to Paris where for two years he studied under the portraitist Francois de Troy.
In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.

By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery

His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.
He lived in great splendour in his house in Covent Garden, London, with his wife Hannah.
In 1699, after a visit to Rome, he fell under the spell of the Antique and painted his famous full length portraits of the Earl of Shaftesbury in Classical pose.
Closterman's last documented portrait is 1704, and he devoted his last years to dealing in Old Master paintings.

An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of 'Master of the Baroque Portrait'.

SIZE: 37 x 32.5 inches inc. frame.
Provenance: Hampshire Private Collection.