Portrait of a Lady c.1680; Circle of ...

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Oil on canvas in a reproduction frame.
This is a charming portrait of a handsome woman of mature years; mature she may be, but she is very aware of the high fashion of the time. The very latest hair style, the plunging neckline and of course, that hallmark of the Baroque, pearls.
The sitter is depicted within a feigned carved stone oval that was used often by Lely.
The sitter, her identity forgotten, has for years been known as 'The Irish Lady'...why so has also been forgotten!

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. 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. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 37 x 32 inches inc. frame.
PROVENANCE: The Blue Boar Hotel, Maldon, Essex.

Portrait of Elizabeth, Countess of Carnarvon c.1650; ...

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Oil on canvas in old reproduction frame of the correct period type.

The Countess is depicted in the mythical realm of Arcady, a fshionable conceit of the time.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain.
Elizabeth places her hand in the water...this is a motif much used by Van Dyck and Lely and it 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 lamb represents innocence, gentleness, patience and humility....and is,of course, an emblem of Chtistianity.
There is little doubt that this portrait represents a celebration of Elizabeth's forthcoming marriage.

ELIZABETH CAPEL (1633-1678) was baptised on 4 June 1633 at Hadham Parva, Hertfordshire, England. She was the daughter of Arthur Capel, 1st Baron Capel of Hadham, and Elizabeth Morrison.
She married Charles Dormer, 2nd Earl of Carnarvon, son of Robert Dormer, 1st Earl of Carnarvon and Lady Anna Sophia Herbert, before 1653.
Her father was executed by Parliament for Royalist activities during the Civil War in 1649.
The Carnarvons and the Capels were great patrons of Sir Peter Lely and the miniaturist Richard Gibson both of whom painted numerous portraits of Elizabeth and her family in the 1650s.
Tha Capel family were great flower lovers; Elizabeth, Lady Carnarvon was a talented flower painter, her brother did much to develop the gardens at Kew, and her sister, the Duchess of Beaufort, developed the gardens at Badminton and Beaufort House.
The marriage produced a daughter, Lady Elizabeth Dormer, born in 1653 and died aged 24 the year before her mother, who was herself only 45.
The Countess was buried on 6 August 1678 at Wing, Buckinghamshire, England.

DAVID DES GRANGES (1611-c.1671-2)was a miniaturist but also painted on the scale of life. He married a member of the Hoskins family of artists.
He was employed by both Charles I and II. In 1658 he was described as a portraitist on the scale of life (Sanderson, Graphice, 1658).
Signed and dated portraits of 1632 and 1662 (Sir Robert Chester)are known.
The large painting of the Saltonstall family in the Tate Gallery is traditionally attributed to him.

SIZE:58 x 47.5 inches inc. frame.
*Alexander Edward Murray VC, DSO, MVO, DL (1872-1962), , 8th Earl of Dunmore.
*Christie's, London, 4 March 1932 as 'Lely' (5 gns. to F. Howard).
*Collection of J.W. Delditt.
*Sold by Woods Interior Design, Harrogate, Yorkshire.
*Burrow Hall, Kirkby Lonsdale, Cumbria.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.
VERSO: Old red wax coat of arms collection seal.
Hand written inscription in Polish (?)
Old London framers label.
Old hand written label:"the property of J W Delditt, Great Tower St."


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.

Portrait of a Gentleman and his Greyhound ...

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Small scale oil on canvas in the original carved and giltwood frame. Signed with initials and dated '58' lower right.

EDWARD ALCOCK (fl. 1745–1778) was an English painter of portraits and miniatures.
Alcock lived in a variety of towns around England and was described by the poet William Shenstone as "the most volatile of all creatures that have not wings". He is first recorded living with his mother in 1745 in Liverpool, where he went into partnership with a carver-and-gilder in 1747. He was recorded in Bath in 1757 and was living in Birmingham between 1759 and 1760, where he painted a full-length portrait of Shenstone now in the National Portrait Gallery. He was described as "Mr Alcock of Bristol" in 1769, and by 1778 was living in London and exhibiting at the Royal Academy and Free Society of Artists, while retaining strong links with Birmingham. Shenstone described him as "an excellent miniature painter" and the poet Chatterton penned fulsome verses in his praise in 1769. Alcock's small full lengths are very much in the style of Devis.

SIZE: 16.75 x 11 inches canvas.
22 x 16.5 inches framed.
PROVENANCE: Collection of the late Peter Walwyn MBE. (1933-2017)
Peter Walwyn MBE, a giant of the turf, will forever be associated with the great champion Grundy. Walwyn, who was based for the majority of his training career at Seven Barrows in Lambourn, was champion trainer in Britain on two occasions in 1974 and 1975, the same year Grundy enjoyed his splendid campaign that saw the colt win the G1 2000 Guineas, Epsom Derby, Irish Derby and King George VI and Queen Elizabeth S. That King George win, when he prevailed after a terrific tussle with Bustino, has been ranked as one of the most iconic races of the century. Walwyn retired from training in 1999 after saddling 1,900 winners and was appointed an honorary member of the Jockey Club. He was also awarded an MBE by the Queen in 2012 for his services to racing.


Portrait of a Lady and her Child ...

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Oil on canvas in the original frame.
Painted very much in the style of Lawrence, this is an enchanting double portrait with great charm and a sense of intimacy.
The skin tones are beautifully rendered and the costly jewellery depicted with with great care and accuracy. The young mother looks off to her right whilst her child, toying with a ring on the mother's hand, looks directly at us from across the centuries.

GEORGE HENRY HARLOW (1787-1819), was a highly-regarded English portrait painter.
He was born in St. James's Street, London, on 10 June 1787 and was for a short time at Westminster School, but having shown a predilection for painting, he was placed under Henry De Cort, the landscape-painter. He next worked under Samuel Drummond, A.R.A., the portrait-painter, but after about a year entered the studio of Sir Thomas Lawrence, P.R.A.
Harlow determined to devote himself to painting, he remained for about eighteen months in Lawrence's studio, copying his pictures, and occasionally drawing preliminary portions of Lawrence's own productions. A difference about Harlow's work for one of Lawrence's pictures led to a breach with Lawrence.

Young, headstrong, and impatient of restraint, with a handsome person and amiable disposition, he was generally popular in society. He worked, however, with industry and enthusiasm in his art.
He exhibited for the first time at the Academy in 1804, sending a portrait of Dr. Thornton. In later years he exhibited many other portraits; his portraits are well conceived, and, though much in the manner and style of Lawrence, have a character of their own. His portraits of ladies were always graceful and pleasing.

In 1818 Harlow visited Italy for the purpose of studying the old masters. At Rome his personal gifts and accomplishments made him the hero of the day. He was elected a member for merit of the Academy of St. Luke at Rome, a most unusual distinction for an English artist, and was invited to paint his own portrait for the Uffizi gallery of painters at Florence. His artistic progress in Italy was remarkable, but on his return to England on 13 Jan. 1819 he was seized with a glandular affection of the throat, which proved fatal on 4 Feb.
He was in his thirty-second year. He was buried under the altar of St. James's, Piccadilly, and his funeral was attended by the eminent artists of the day.
Many of his portraits have been engraved, and those of James Northcote, Fuseli, Thomas Stothard, William Beechey, John Flaxman, and others are highly esteemed. His own portrait, painted by himself for the gallery at Florence, was engraved for Ranalli's Imperiale e Reale Galleria di Firenze.

SIZE: 42 x 35.5 inches including frame.
PROVENANCE: London Private Collection.
Verso: old labels for James Bourlet (storage) and the name of a previous owner and her Holland Park address in London (c.1950)

Portrait of a Young Lady c.1770; Attributed ...

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69A beautiful portrait of an attractive young woman, painted in the Neoclassical fashion of the second half of the eighteenth century, much favoured by Kauffman.

ANGELICA KAUFFMAN R.A. (1741—1807), in full Maria Anna Catharina Angelica Kauffman, Kauffman also spelled Kauffmann or Kaufmann, was a painter in the early Neoclassical style.

The daughter of Johann Joseph Kauffmann, a painter, Angelica was a precocious child and a talented musician and painter by her 12th year. Her early paintings were influenced by the French Rococo works of Henri Gravelot and François Boucher. In 1754 and 1763 she visited Italy, and while in Rome she was influenced by the Neoclassicism of Anton Raphael Mengs.

She was persuaded by Lady Wentworth, wife of the English ambassador, to accompany her to London in 1766. She was well received and was particularly favoured by the royal family. Sir Joshua Reynolds became a close friend, and most of the numerous portraits and self-portraits done in her English period were influenced by his style of portrait painting.
Her name is found among the signatories to the petition for the establishment of the Royal Academy, and in its first catalogue of 1769 she is listed as a member. She was one of only two women founding members.
During the 1770s Kauffmann was one of a team of artists who supplied the painted decorations for Adam-designed interiors (e.g., the house at 20 Portman Square, London, which was home to the Courtauld Institute Galleries for more than 60 years). Kauffmann retired to Rome in the early 1780s with her second husband, the Venetian painter Antonio Zucchi.

Kauffmann’s pastoral and mythological compositions portray gods and goddesses. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann’s portraits of female sitters are among her finest works.

SIZE: 27 x 23 inches inc. frame.
PROVENANCE: Anon. sale at Christie's 21 March 1975, lot 113 as by Angelica Kauffman.
Private Collection, Berkshire.

VERSO: old Christie's stencils, catalogue entry from 1975 sale.

Portrait of a Young Girl c.1680; ...

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Oil on canvas in reproduction parcel gilt 'cassetta' frame.

A charming portrait of an attractive young sitter depicted as a 'shepherdess' (albeit one wearing silks, pearls and jewels) in the mythical realm of Arcady (or Arcadia), a fashionable conceit of the times which also featured in the literature and poetry of the period. Arcady was a land where beauty and innocence thrived.
The girl holds a shepherd's crook of the Continental type; real shepherds would use the shaped end to scoop up and throw small stones to send the sheep in a chosen direction.

MARY BEALE (1633-1699) was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.
She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street. Mary Beale was not the only female painter in England, but her name alone has survived as that of the only woman to make a successful living, and to enjoy a flourishing practice as a portraitist.
She became reacquainted with Sir Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits. He was Beale’s strongest artistic supporter. The friendship between Lely and Mary Beale enabled her, famously, to observe the master in the act of painting – a remarkable privilege – in order to study his technique. It is perhaps not surprising, therefore, that many of her portraits have been misattributed to Lely or his Studio .She was widely reckoned to be Van Dyck's most accomplished copyist. Her grasp of Lely's colouring is evident, but the pleasant and direct manner in which she treats her sitters is entirely her own.

SIZE: framed 30 x 24.25 inches
canvas size 23.75 x 17.75 inches.

PROVENANCE: *London Private Collection.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.

Portrait of a Young Lady as Diana ...

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Oil on panel in 18th c. gilt frame.
The elaborate gilt frame presents this lovely little portrait like a jewel in a rich gold setting.

The young sitter is depicted in an open landscape.
This beautifully executed portrait captures the shimmering quality of the sitter's garments...the silk, fine linen and delicate gauze all compliment the delicacy with which the girl's face is painted.

The fashionably, and expensively, dressed young lady is depicted as Diana the Huntress, goddess of the hunt, moon and birthing.
The sitter holds a bow in one hand and an arrow in the other.
The celestial character of Diana is reflected in her connection with light, inaccessibility, purity and virginity; all desirable attributes for a girl who was on the marriage market.

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.

Dutch family of painters of Flemish origin. The earliest known artist of this family was Aert Mijtens (1541-1602), a history and portrait painter who worked in Naples and Rome. His brother Martin Mijtens, a saddle and coach-maker, fled to the northern Netherlands and had two sons who also became painters: Daniel Mijtens I, who was prominent in England for a period as a portrait painter in the Stuart court, and Isaac Mijtens (c. 1602-1666), a portrait painter in The Hague. Jan Mijtens was a nephew of these brothers and father of the portrait painter Daniel Mijtens II (1644-1688). Martin Mijtens I, himself a son of Isaac, moved to Sweden where he worked as a portrait painter in Stockholm, while his son Martin van Meytens II later became a portrait painter at the imperial court in Vienna. Several other minor members of the Mijtens family established reputations as painters.

SIZE: panel 17 x 13 inches.
Frame: 24 x 20.5 inches
PROVENANCE: *English Private Collection.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.

Portrait of a Member of the Palmes ...

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Oil on canvas in gilded oakleaf frame.

The sitter, depicted with a feigned stone oval, wears a faux Roman military tunic beneath his cloak; this was called 'elevating the sitter' and was intended to give the portrait a timeless Classical quality, as was his silk drape....this despite his fashionable full wig and cravat! Lely, and others, used this motif on many occasions.

The PALMES family of Naburn Hall, York, and the cadet branches of Lindley Hall, North Yorkshire; Ashwell, Rutland; and Carcraig in Ireland, are an ancient English aristocratic family, noted for their adherence to Catholicism. The Palmes family of Naburn are directly descended from Mary Boleyn and her daughter, Catherine, who is generally believed to have been the daughter of Henry VIII of England while Mary was his mistress. Mary's sister, Anne Boleyn, afterwards became the second wife of Henry VIII and the mother of Elizabeth I of England:
The family were originally seated at Taunton Deane, Somerset, where Manfred de Palma/Palmes had by the "Gift of Milo Earl of Hereford & Constable of England, 53 Oxgangs of Land and 25 Messages in the Lordship of Taunton Dean". Manfred was "known to be living in the sixth year of the reign of King Stephen, 1140 AD".

The Palmes family of Naburn can trace its ancestry through a maternal line to Robert de Todeni (died 1088), a powerful Norman baron. Todeni's importance is reflected by the 80 estates in 11 counties that he was granted by William across England. His principal Lordship was at Belvoir where he built his home, Belvoir Castle, before establishing Belvoir Priory in 1076. Among Todeni's many estates was Naburn. In 1226, William Palmes of Taunton acquired the Lordship of Naburn through his marriage to Matilda, daughter or sister of Richard de Watterville; a direct descendant of Robert de Todeni from whom the land had passed to the Wattervilles. From then on, the estate continued to descend uninterrupted from father to son within the Palmes family until 1974, on the death of Commander George Bryan Palmes. The Palmes family were said to have been "unique in being able to boast an unbroken heritage". Edmund Burke described the family as "one of serious antiquity".

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. 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. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 37.25 x 32.25 inches inc. frame.
PROVENANCE: By descent through the Palmes family to a branch now resident in Kent.

Portrait of Two Young Girls and Their ...

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Oil on canvas, bears signature C W Peale and dated mid left.

The two children pet their dog whilst in the background is a bust of the goddess Flora; Flora is the Roman Goddess of flowering plants, especially those that bear fruit. Spring, of course, is her season with its attendant attributes of future fertility and blossoming...all appropriate for two children in the springtime of their lives.

Charles Willson Peale (April 15, 1741 – February 22, 1827) was an American painter, soldier, scientist, inventor, politician and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, and for establishing one of the first museums in the United States. Peale studied for a time under John Hesselius and John Singleton Copley. John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland. There, he taught painting to his younger brother, James Peale, who in time also became a noted artist.

SIZE: canvas 24.75 x 30.10 inches.
framed:31 x 36.5 inches.
PROVENANCE: Stair Galleries (Auctioneers), New York
where bought by Mallett of London and New York in 2008.

Portrait of Gervais Nevile c.1720; attributed ...

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Oil on canvas in good quality period frame (damaged on the reverse of the right hand bottom corner, but barely visible from the front).

This fine quality portrait may be of Gervais Nevile, born c.1676 at Wellingore Hall, Kesteven, Lincolnshire. His parents were Bryan Nevile (1640 - 1754) and Martha Ellis (1652 - 1710).
His first marriage was in the 1690s and he married for a second time in June 1711 and his wife, Honora, bore him nine children, of whom only three survived. Honora was the daughter of Dr. John Richards MD of Chelsea (1655-1697/8).
(Our thanks to Christopher Richards for the bigraphical information).

The Neviles of Aubourn Hall and Wellingore Hall, are an ancient Lincolnshire family, who descend in the male line from Gilbert de Nevile, mentioned in the Doomsday Book and an ancestor of the Nevills, Earls of Westmoreland.

JONATHAN RICHARDSON Snr (c1665 - 1745 was the leading native-born portrait painter of the first forty years of the century. He and Jervas were in rivalry with Kneller and Dahl. Jervas excelled with women's portraits Richardson was best with men. His works were sound, solid, good likenesses, and unpretentious.

SIZE: 36 x 32 inc. frame

By descent through the Nevile family of Aubourn and Wellingore.
Verso: old handwritten label "Living Room. No. 4"

(Image 4 shows Aubourn Hall today, and Image 5 Wellingore Hall).

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.