SOLD.....Portrait of a Gentleman c. 1685; attributed ...

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Oil on canvas in good quality 17th c. carved and giltwood frame.

The sitter is depicted within Mrs. Beale's 'trademark' sculpted stone oval; he regards the viewer with a rather haughty look. His wig is in the height of fashion as is his exquisite lace cravat.

The armour he wears may merely be a symbol of wealth and status or it might reveal that he earned his living fighting in one of the many European wars of the time.
Many aristocrats and members of the gentry who found themselves short of money took part in these campaigns as mercenaries. It was considered that military service was the only option for the impecunious well-bred; to enter Trade was to put oneself beyond the death.

MARY BEALE (1633-99) was born Mary Cradock, daughter of the Rev. John Cradock in Suffolk; in 1651 she married Charles Beale, Lord of the Manor of Walton, and moved to London. She was already known as a painter by 1654 and she was strongly influenced by Sir Peter Lely, Principal Painter to the King and famous Court and Society portraitist.
Lely was a friend of Mrs.Beale and she sometimes copied his work and frequently used his poses in her portraits.

She often depicts a stone oval heavily sculpted with fruit or flowers. The sitter's eyes tend to be almond shaped and her colouring pure and rich.

It was most unusual for a woman to take up a professional career as an artist at this time, but her studio thrived; her most active period was the 1670s and early '80s. Mary Beale died at Pall Mall and is buried in St. James's Church, Piccadilly.

Her work is represented in many country house collections, art galleries and museums.

SIZE: 37 x 31.5 inches inc. frame.

PROVENANCE: Private Collection, Yorkshire.

SOLD.....Portrait of Mother and Child c.1795-1800 by ...

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Oil on canvas in period giltwood frame.

This tender double portrait of a mother and her daughter is beautifully composed and executed. The mother sits in a mahogany armchair, her daughter on her lap, with a stone column in the background and a fragment of landscape beyond.
The positioning of the sitters arms and heads sweeps the viewer's eye round in an embracing circle within which is a timeless display of love and affection of a mother and her child.

At the base of the column is the signature "Weaver". There was a portraitist, M. Weaver, working in Bath who is documented as paying a visit to Ireland in 1766/67, but this is all that is recorded of him.
Whether the artist is that Weaver or another is purely academic, what matters is that the artist had considerable talent and insight into the humanity of his sitters, and thus was able to express this love without in any way being overly sentimental.

In his painting style he was clearly influenced by the fashionable John Hoppner.
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.

SIZE: 33 x 26.25 inches inc. frame.
PROVENANCE: English Private Collection.
VERSO: old framer's label for A. R. Skillen & Co. Bloomsbury.

SOLD....Portrait of Sir Hugh Cholmley c.1684; Attributed ...

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Oil on canvas in fine quality 17th c. carved and giltwood oakleaf frame, bearing label "Hugh Cholmley of West Newton Grange. 16*4. Thomas Murray".

SIR HUGH CHOLMLEY (Cholmeley) 4th Bt. {1632-1690} of West Newton Grange, Yorkshire.
Born at Fyling Hall, near Whitby, Yorkshire, he was the son of Sir Hugh Cholmley, 1st Bt. and Elizabeth Twysden.

[ Sir Hugh, the first baronet, was born in 1600 in Roxby, Yorkshire. During the Civil War in 1643, as a general, he fought for Parliament before transfering his allegiance to the Royalist cause and became Governor of Scarborough Castle.]

The sitter in this portrait, Sir Hugh Cholmley, 4th Bt., married Lady Anne Compton, daughter of Spencer Compton, 2nd Earl of Northampton and Lady Mary Beaumont in 1665/6 at Hamerton, Huntingdonshire. He held the office of Governor of Tangiers, Morocco in 1665, succeeding to the baronetcy in July 1665. He was M.P. for Northampton in 1679, and M.P. for Thirsk from 1685 to 1687. He died, aged 56, at Whitby, Yorkshire.

THOMAS MURRAY (1663-1735). Born perhaps in Scotland, he was a pupil of Riley, but his better portraits, those before 1700, are very much like Closterman. He was very successful; he died rich in London in 1735.

SIZE: 38 x 33 inches inc. frame.

PROVENANCE: by descent to Piers Henry Augustus Butler, 16th Viscount Mountgarret died 1966; sold by his Will Chattels Trust in December 2010.
Prior to the sale the portrait was on long term loan to Bradford Corporation Art Gallery.

Tong Hall was one of the Tempest family's properties for 400 years until 1941.
Sir John Tempest, 1st Bt, born 1645, married Henrietta Cholmley of West Newton Grange, daughter of the sitter in this portrait, in c.1663/4.
The 13th Viscount Mountgarret married Francis Penelope Plumbe-Tempest of Tong Hall in 1844; thus the portrait of Sir Hugh Cholmley was acquired by the Mountgarrets.

VERSO: old printed label:-
"City of Bradford Corporation Art Gallery.
Cartwright Memorial Hall.
Loan number 188."

Indistinct 19th c. handwritten label:-
"**** Tempest, ***** of Ann Tempest of Tong
by Mary Tempest of Broughton(?)"


SOLD......Portrait of Alexander Pope (?) c. 1730: ...

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Oil on canvas in gilded frame.

An interesting portrait of a gentleman, thought to be Alexander Pope (21 May 1688 – 30 May 1744).
Pope was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. Famous for his use of the heroic couplet, he is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.

Painted in the intimate 'cabinet' size, often made as a gift, the portrait shows in the background an impressive Classical stone terrace; the sitter prominantly displays a double sealed letter which seems to have been written by him, as on his desk are sheets of writing paper and a pen.

In 1731 Pope wrote his "Epistle to Burlington" to the amateur architect, Richard Boyle, 3rd Earl of Burlington (1674-1753). Burlington was a close friend of Alexander Pope, whose "Epistle to Burlington" acknowledges his great taste in both architecture and landscape design.
Does the Palladian terrace acknowledge Burlington's revival of the architecture of Palladio, and does the envelope symbolise one of Pope's famous epistles? Perhaps.

(An epistle is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter.)

(Image 4 shows a portrait of Pope when younger and painted in 1718 by Richardson).

JONATHAN RICHARDSON (1665–1745) sometimes called "the Elder" to distinguish him from his son) was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, as an apprentice, he learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.

SIZE: 23 x 28.5 inches inc. frame.
PROVENANCE: Somerset Private Collection.

SOLD...Charles l; after Van Dyck

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Oil on canvas, a good 19th c. copy of the famous triple portrait by Van Dyck.

The original, painted in 1635, was sent to Rome in order that the noted sculptor Bernini had an accurate image from which to sculpt a marble bust of the monarch.
The painting now belongs to Her Majesty Queen Elizabeth ll. The bust was destroyed in the fire which severely damaged Whitehall Palace in 1698.

Size: 40 x 50.5 inches inc 19th c oak frame.

Provenance: a Somerset Private Collection.



SOLD....Portrait of Lt. Gen. the Hon. George ...

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Oil on canvas in fine quality 17th century carved and silver-gilt frame. (Although now rarely seen, at one point in the seventeenth century silver-gilt frames were very fashionable; Samuel Pepys had all his paintings framed so.)

An excellent portrait of THE HON. GEORGE RAMSAY of Carriden, 3rd. son of William, Earl of Dalhousie and Lady Anne Fleming.
Born into an ancient martial family, he became famous as a gallant soldier; he fought in the Battle of Killiecrankie in 1689, where he commanded Wauchope's Regiment of Foot. He fought in the Battle of Landon, where he commanded the Scots Guards, whom he also commanded at the Battle of Steenkirk. He became Commander-in-Chief of the forces in Scotland in 1702.

Ramsay had married a lady of the Buckden family and their seat was Carriden House, Linlithgow, Scotland. They has one child, Jean.
George Ramsay died in 1705.

A three quarter length portrait of Ramsay can be seen at Drumlanrig Castle.

Mackay, in his 'Memoirs', describes him as 'a gentleman of a great deal of fire, very brave, and a thorough soldier'.

SIR JOHN BAPTIST MEDINA (1669-1710). Portrait and history painter; from a Spanish family, but born in Brussels. Knighted in Scotland in 1707. He had come to London in c.1686 and became well-known. Under the patronage of the Earl of Melville (later Earl of Leven), he moved to Edinburgh and had immense success; in fact, his success in Scotland was as great as that of Kneller in London.

SIZE: 38.25 x 33.5 inches inc. frame.
PROVENANCE: Private Collection, Sussex

Verso; old label 'Hugh Panton, Princes Street, Edinburgh'


SOLD...Pair of Portraits of John and Jane ...

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Pair of oils on canvas in giltwood frames.

This charming pair are probably engagement portraits painted to commemorate their forthcoming union.
The artist has used a bright, soft palette giving an optimistic Spring like feel to the paintings. Jane holds a basket of flowers and wears one as an ornament in her hair.
John, as befits an 18th century gentleman of noble lineage, stands confidentally, his tricorne hat under his arm, one hand on his hip and the other tucked into his waistcoat.

The DE CARTERET family.
"There are few families, if any, who can show a record as famous and remarkable as that of the noble family of de Carteret, and the fame of their deeds is recorded alike in French and English chronicles.
Their history through succeeding generations is closely interwoven with the history of Jersey; their most striking characteristic has been a deep loyalty to their Dukes of Normandy, embodied in the persons of the monarchs of England. Nor is it too much to say that this, the most important of the Channel Islands, has been held steadfast and loyal to the English throne largely through the extraordinary patriotism and exceptional qualities of this family.
The de Carterets are of ancient Norman descent. The name Onfrey de Carteret is mentioned amongst those who followed William the Conqueror to England, and he was probably one of the Seigneurs of Normandy even at that early time." 'Jersey: An Isle of Romance' by Blanche B. Elliott, (published 1923).

The de Carterets prospered not only in Jersey; Philip (1639-1683) was the 1st Governor of New Jersey, and Rear Admiral Philip de Carteret (1733-1796) was a famous circumnavigator.

HAMLET WINSTANLEY (1698-1756) was a painter and engraver based predominantly in Warrington, Lancashire. Initially self-taught as an artist by 1713 he was in London drawing in Kneller's academy in Great Queen Street, returning to Warrington in 1721. Under the patronage of James Stanley, 10th Earl of Derby, of Knowsley Hall, Lancashire, Winstanley spent two years in Italy between 1723 and 1725. On his return to England he painted members of the Stanley family which remain at Knowlsey today. Today Winstanley is perhaps best known as an early tutor of George Stubbs (1724-1806).

SIZE: 40.5 x 32.5 inches inc frame.
PROVENANCE: English Private Collection.
VERSO: old inscription "John de Carteret, son of Philip de Carteret married Jane Falla 14th March 1758".


SOLD....Portrait of Charles Pym Esquire c.1710; attributed ...

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Oil on canvas in good reproduction early 18th c. style frame.

Inscribed uper left 'Charles Pym Esqr of St. Kitts. B. D.1740.' The sitter within a feigned oval.
Charles Pym was a member of an ancient English family, first found in Somerset. Like Charles, other members of the family sought their fortunes overseas....Henry Pym settled in Barbados in 1688; Mary Pym in Virginia in 1673; Richard Pym in Barbados in 1687, and another Charles Pym who arrived in New England in 1715.

The Charles Pym depicted here was a wealthy and important sugar plantation owner in St. Kitt's (also known then as St. Christopher's).
In 1727 he was a significant figure in the Federated Colony of the Leeward Islands...St.Kitt's, Nevis, Antigua and Montserrat. He was a Member of the Council of Antigua in 1725/6 and 1727/8, and on 18 September 1733 a Member of the Council of Basseterre.
Pym had a daughter, Priscilla, who inherited her father's considerable wealth on his death in 1740.
A very eligible heiress, she married Lord Romney in August 1742. They had five children, of whom the first-born was named Charles, after his grandfather.

These wealthy entrepreneurs with estates in the Caribbean often returned to England to have their portraits painted and Pym could certainly afford Kneller..the most fashionable artist of his time.
Charles is shown with the well-fed self-satisfied look of the rich of the period. It will be noticed that depite living in the West Indies his skin is untanned; only peasants and outdoor workers were browned by the was regarded as very low class.

SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King.

SIZE: 36.5 x 31.75 inches inc. frame

PROVENANCE: Suffolk private collection.

SOLD.......Portrait of Prince Henry, Duke of Gloucester, ...

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SOLD.....Oil on canvas in giltwood frame.

A 17th c. copy, conceivably a Studio version, of the portrait painted by Boeckhorst c.1659, to celebrate the Duke's initiation as a Member of the Guild of St. George, Bruges. The original is in the Groothuis, Bruges; a replica, 1662, was painted for the Guild of Arbalasters. A third copy, thought to be this one, was sold at Christie's in 1954. The only other known replica is in the National Portrait Gallery (NPG 1932) and came from the family collection of the Viscounts Dillon, Ditchley Park, Oxfordshire.

PRINCE HENRY, DUKE OF GLOUCESTER (1640-1660) was the third son of Charles I and Henrietta Maria; as a child, he lived at Oxford during the Civil War until it was captured by the forces of Parliament in 1646. He saw his father just before his execution in 1649; in 1652 he was allowed join his mother abroad where he resisted her determined attempts to convert him to Catholicism.
In 1658 he fought for the Spanish army against the French, showing great bravery and resource. (In this portrait the prince is depicted not only wearing armour but holding the baton of a commanding officer). Shortly after his return to England at the Restoration he died of smallpox; a great loss, for all praised his his vivacity, wit and understanding. Had Henry lived, as a staunch Protestant he would have been a viable proposition to replace his deposed Catholic brother James in 1688, and the Stuart reign would have continued.

JOHANN BOECKHORST was a Flemish painter and draughtsman of German birth (c. 1604 - 1668). Educated as a scholar, Boeckhorst became a cleric at the seminary of St. Clemens in Germany in 1621, he later moved to Antwerp where, in 1626, he became a pupil of Jacob Jordaens and Peter Paul Rubens. The great influence of these artists on Boeckhorst is apparent In 1633/34, while serving as an assistant of Rubens, he became a free master of the Antwerp guild of St. Luke. Boeckhorst traveled throughout Italy between 1635 and 1637 and returned in 1638 to visit Rome. The Flemish artist also completed numerous commissions in the 1630s as an independent painter. In addition, Boeckhorst collaborated on numerous commissions with notable artists like Fyt, Brueghel ,Snyders, and Wildens, who were also influenced by Rubens. However, the majority of his commissions date after c. 1650.
As in this portrait of Prince Henry, Boeckhorst’s work after 1650 was heavily influenced by the Flemish artist Van Dyck. Elements of Van Dyck’s style that appear in Boeckhorst's work include figure type and dramatic structure.

SIZE: 56 x 46.5 inches inc. frame
PROVENANCE: Collection of a West Country Gentleman; left to his housekeeper.


SOLD....Anne of Austria, Queen of France; French ...

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Oil on canvas in a simple oak frame.

A worn inscription upper left 'ANNE D'AUTRICHE. REINE DE FRANCE'.

This is a pleasing portrait of the young daughter of Philip of Spain painted in the 17th century, copied from, or a version of, an early 17th c. original presumably recording the betrothal of the young princess at the age of ten.
Typical of its period in that no attempt is made to reveal anything of the character or personality of the sitter. This is a State image of wealth and power with much care lavished on the depiction of the fabulously costly effect, this is a political icon.
As such it gives us a fascinating glimpse of early 17th c. Europe.

ANNE OF AUSTRIA, 1601–66, later Queen of France, was the daughter of King Philip III of Spain. She was married to the French King Louis XIII in 1615 at the age of fourteen, having been betrothed to him from the age of ten. This was a marriage of state, uniting powerful nations…it was not a happy marriage.
Neglected by her husband and his mother Marie de Medici who acted as if she was still Queen of France, she sought the society of the court intriguer, Mme de Chevreuse.

Anne's indiscreet behaviour, especially her flirtation with the English Duke of Buckingham, injured her reputation. Her loyalty to Spain and her strong Roman Catholic background made her suspect after France's alliance in 1635 with the Protestant nations in the Thirty Years War.
She was accused by the French minister of state, Cardinal Richelieu, of treasonable correspondence with Spain but was pardoned in1637.

Contrary to the express wish of her husband before his death she was granted, in 1643, by Parlement, full powers as Regent for her son Louis XIV. She entrusted the government to Cardinal Mazarin whom she supported during the revolt of the aristocrats, lead by the Prince de Conde, that became known as the wars of the Fronde.
After Mazarin's death in 1661, her son excluded her from all affairs of state.
Regarded by many as a brilliant and cunning figure, Anne of Austria is a central figure of Alexandre Dumas's 'Three Musketeers'.

SIZE: 25 x 19.6 inches canvas size.
30 x 25 inches framed

PROVENANCE: Buerton Old House, Cheshire.

Verso: old handwritten copperplate inscription 'Purchased from Leon G.... , Abbeville by A.J. P....ll June 19th 1891. Anne of Austria Portrait. .....ngham ..... the .....'

Old framer's label 'SADLERS Ltd, Picture Frame Makers, 29 Pall Mall, Hanley'


Portrait of Lady Diana Cooke, Circle of ...

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Oil on canvas in a 19th century frame.

LADY DIANA COOKE was born Diana Butler, daughter of Anthony Butler; she married Sir Henry Cooke, 2nd Baronet, the son of Sir Bryan Cooke and Sarah Ryley.
Sir Henry had succeeded to the title 2nd Baron Cooke of Wheatley Hall in 1683. He had married Diana in 1659, probably the time when this portrait was painted.
They had two children, Sir George, 3rd Baronet, and Henry.
Sir Henry Cooke, 2nd Baronet, died in 1683.

Wheatley Hall, Wheatley, Yorkshire was the magnificent family seat built by Sir Henry Cooke. (see image 5).
The powerful Cooke family lived there until 1914 when the then lord, Sir William, moved out. The Hall became a golf club and flats; in 1933 Doncaster Corporation bought the house and estate and used the land for housing, finally demolishing the Hall in 1938. Today a tractor factory stands on the site of Wheatley Hall.

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.

SIZE: 45 x 38.5 inches inc. frame.
PROVENANCE:Private Collection, Bristol.
VERSO: Two old inscriptions identifying the sitter (spelling her surname without the 'e') and attributing the painting to Sir Peter Lely. Old Christies stencilled number.

SOLD...Mediaeval carved oak angel

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This very rare survival from the Middle Ages shows all the signs of often turbulent English history.

A guardian angel from a Derbyshire church, it was carved c.1480-1500, and brutally savaged by either Reformist zealots in the mid 1500s or by Puritans during the Civil War of the mid 1600s.

Even with its wings hacked off and the scars of swords or axes defacing the wood the angel still conveys a sense of peace.

This ancient carving is so evocative of its 500 years of history, standing, head bowed, with a battered resilient beauty.

SIZE: 42 inches tall.
PROVENANCE: An Elizabethan manor house in Norfolk.