Pair of Walnut framed chairs, c.1890-1920, in ...

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A handsome pair of walnut framed chairs, with flame stitch upholstery. C. 1890-1920 in the French 17th century style.
Both chairs in 'country house' condition (in fact they spent many years in one such). Upholstery worn and the chairs a little loose jointed, but perfectly usable.

SIZE: 41 inches tall, 19 inches wide, 20 inches deep.
PROVENANCE: Somerset country house for many years.
Last five years in our guest room, now surplus to requirements.

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.

Portrait of Thomas Howard, 4th Duke of ...

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An oil on oak panel within an appropriate 'cassetta' frame.
Depicted as a young man, this fine portrait of this historically important aristocrat is 16th century in style, but is probably 17th century, based on a three quarter length portrait formerly in the collection of the Earl of Carlisle (now in the NPG) by an unknown Anglo-Dutch artist; previously attributed to Steven van der Meulen.
Faintly inscribed above the sitter is 'Thomas Howard Duke of Norfolke -", and below that, very faintly "AETAT …" (at his age of …).
To his right the Norfolk coat of arms.

The painting is Anglo-Netherlandish in style and is a sophisticated work. The painting method is straightforward but with some fine brushwork and modelling, especially in the face. The paint layers are thinly applied and subtle pigment mixtures and brushwork are used.

THOMAS HOWARD, 4th Duke of Norfolk, (born March 10, 1538, Kenninghall, Norfolk, England—died June 2, 1572, London), English nobleman executed for his intrigues against Queen Elizabeth I on behalf of Mary Stuart, Queen of Scots, a Roman Catholic claimant to the English throne.

He was the son of Henry Howard, Earl of Surrey, who was put to death for alleged treasonable activities in 1547. Restored to his father’s title on the accession of Queen Mary Tudor in 1553, he succeeded his grandfather as Duke of Norfolk in 1554. Norfolk was in favour with both Queen Mary and her successor, Elizabeth I. He commanded the English forces that invaded Scotland in 1559–60, and he presided over the commission that inquired in 1568 into the quarrel between Mary Stuart and Scotland’s Protestant nobility.

Mary had just fled to England, where she became Elizabeth’s prisoner. Norfolk listened readily to suggestions from the Scottish statesman William Maitland and others that the difficulties between England and Scotland could be resolved if Norfolk would wed Mary and have her declared Elizabeth’s successor. Norfolk, however, was neither bold enough to ask Elizabeth’s consent for the match nor disloyal enough to raise an insurrection against her. Instead, several Roman Catholic nobles in northern England revolted in an attempt to free the Queen of Scots, marry her to Norfolk, and restore Roman Catholicism to England. The uprising was suppressed, and in October 1569 Elizabeth had Norfolk arrested. He was released the following August, but he soon allowed himself to be drawn into the plot of Roberto Ridolfi, an Italian merchant living in London, for the murder of Queen Elizabeth followed by a Spanish invasion of England and installation of Mary on the English throne. Discovery of the plot led to Norfolk’s imprisonment and execution. (Encylopaedia Britannica)

SIZE: 19.75 x 14.45 inches including the frame.
PROVENANCE: Old Shropshire Private Collection. VERSO: Several old labels, including the coat of arms and name of a previous owner and a collection number.

Portrait of Hester, Lady Godfrey c.1635; Attributed ...

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Oil on canvas in an ebonised frame which enhances the jewel like quality of this glowing portrait.

The sitter in this beautiful portrait looks out with a candid gaze, there is a strong sense of intimacy and insight.
A small portrait of this size was probably painted for her parents and was known as a cabinet picture. At this period a 'cabinet' was a small, intimate and private room where treasured possessions were kept, only very close friends were permitted to enter.

HESTER, LADY GODFREY (1622-1699) was the daughter of Sir John Wyld of Kent. She married Thomas Godfrey of Lyd, knighted in 1641. Sir Thomas bought the manor of Heppington in 1640; he died in 1684. There were no children to the marriage. Hester lived to be 77 and is buried in the 12th century St. Mary's Church, Nackington, Kent, as is her husband. Nackington is a small village south of Canterbury.

Aliases: Theodore Rousel; Theodore Rousseel; Theodore Roussel; Theodore Russel.
Born in London, his father, Nicasius, was a goldsmith and jeweller, who left Bruges for England about 1573 and settled in the parish of St Anne, Blackfriars, London; his second wife, Theodore’s mother, was the sister of Cornelis Jonson van Ceulen.
The Russells were connected with the Gheeraerts, de Critz and Oliver families. Theodore’s son, Anthony Russell, who provided George Vertue with information concerning 17th-century artists, stated that Theodore had studied under Jonson and van Dyck, had been employed by such patrons as the 3rd Earl of Essex and the 1st Earl of Holland, and ‘was a lover of ease & his Bottle’
Signed portraits by him are rare. A set of five bust-length portraits at Knebworth House, Herts, includes a male portrait, signed and dated 1644. They are sensitive works in the manner of Johnson.

SIZE: Canvas 10 x 8 inches; framed size 16.75 x 14.5 inches.
PROVENANCE: Long established London Private Collection.
VERSO: A giltwood plaque bearing the inscription "Hester, Lady Godfrey. b1622 d1699. Wife of Sir Thomas Godfrey, by Theodore Russell."

Portrait of a Young Lady c.1735; Circle ...

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Oil on canvas in carved and giltwood frame.

A charming portrait, a full-length "in little", of an attractive young woman, with a house and garden to her left.
Dressed in the height of fashion, the lady allows an elegantly shod foot to peep from beneath her silk gown.

CHARLES PHILIPS (1708-1747), the son of painter Richard Philips, was fortunate enough to receive the patronage of Frederick, Prince of Wales, then the most significant patron of the arts in England, upon his arrival in England. His association with the royal coterie resulted in his success amongst the fashionable circles of society which included the Duke of Marlborough and the Duke of Somerset. Philips produced a number of small scale full-length portraits which demonstrate his skill and attention to detail.

Philips work in both small and large-scale formats contains a certain naive charm, which, combined with the sense of formality seen here, fitted well into the prevailing English taste.
Like most followers of Kneller and the ‘St Martin’s Lane School’, Philip’s portraits are often simply composed, with distinctly drawn eyes and the liberal use of red for details such as the lips and eyes. His direct, if uncomplicated, characterisations proved popular.
He married in 1738 and established a practice at Lincoln's Inn Fields.

SIZE:34 x 26 inches inc. frame.

*Collection of Sir Hughes Stanton R.A. (1870-1937).
*Purchased by the Wadsworth Atheneaum with funds from The Ella Gallup Summer and Mary Catlin Summer Fund, 1940.
*Sotheby's New York, 28 May 1999.
*Private Collection.

Verso: Old labels of the Wadsworth Atheneaum, Hartford, Connecticut, USA incorrectly naming the artist as Francis Hayman R.A.

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.

Portrait of Elizabeth or Frances Brooke; Follower ...

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Oil on canvas in gilded frame.

The young girl, carrying flowers in her apron, waves as if in recognition - but her gaze, and her thoughts, seem far away.
The flowers are a symbol of youth and beauty, both equally transient.

The sitter is thought to be a sister of Jane Brooke (see item 8747 in 'Portraits Sold').
Elizabeth and Frances were the daughters of Peter Brooke and his second wife Elizabeth, daughter and heiress of Jonas Langford Esq of Theobalds, Hertfordshire and Antigua, British West Indies.
Elizabeth married Randle Ford Esq. barrister, of Wexham, Buckinghamshire on 13 December 1785; She died in 1806.
Frances married Thomas Oliver Esq. of Leytonstone on 20 December 1786.

The Brooke family of Mere lived at Mere Hall, Knutsford from the 1650s until 1993. Colonel Ronald Langford-Brooke had died in 1980 and his wife Helen in 1993.
A dispersal sale of the contents, including this portrait, was held on the premises by Christie's in May 1994.
Image 8 shows Mere Hall and in Image 9 this portrait can be seen, lower right, hanging on the staircase wall and partially obscured by the chandelier.

BARTHOLOMEW DANDRIDGE (1691-c.1754)studied at Sir Godfrey Kneller's academy of painting and later at the St Martin's Lane Academy. He had a career as a fashionable portrait painter in London for more than forty years, working in a style similar to that of John Vanderbank.
In 1733, he moved to 55, Great Queen Street, which had formed part of the house of Sir Godfrey Kneller until his death two years before.

SIZE: 40.5 x 35.5 inches inc. frame.
*The Brooke family, Mere Hall, Knutsford, Cheshire and by descent.
*The late Helen Langford-Brooke, Mere Hall. Christie's house sale, May 1994.
*Private Collection, Eaton Square, Begravia, London.
Verso: Two inventory numbers; the older '6' and the later '26'.

Portrait of a Lady of the Chaworth-Musters ...

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Oil on canvas in a fine quality period carved and giltwood frame (some slight damages to frame).

The sitter is probably a member of the Chaworth-Musters family (?Elizabeth Chaworth, nee Pole of Heage, Derbyshire, wife of Patricius Chaworth c.1673-1719?) of Annesley Hall and Park, their ancestral home for 350 years.
It remained in the hands of the Chaworth-Musters family until sold by Major Robert Patricius Chaworth-Musters in 1972. Unfortunately the hall suffered a fire in 1997 which caused damage to the structure and it has not been lived in since. The hall is now in private ownership, in very poor condition and not open to the public.(Image 5)

The Chaworth family were descendents of the Chaources family, of Maine in northern France, who came to Britain at the time of the Norman Conquest. The Annesley line can trace their descent to two brothers. Patricius Chaworth married the heiress of Ogmore and Kidwelly, South Wales. His brother Robert de Chaworth settled in Nottinghamshire and married the daughter of William de Walchiville, Lord of Marnham, in the time of Henry I (1100-1135). He became the ancestor of the Chaworth family later of Annesley.

SIZE: 39 x 33 inches inc.frame.
PROVENANCE:House sale of Annesley Hall and Park, Nottinghamshire by the then owner Major Robert Patricius Chaworth-Musters (1923-1992) 21 March 1973, lot 1088, where bought by Christopher Hogwood CBE (1941-2014).

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.

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.



Double portrait of two boys c.1740; Follower ...

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Oil on canvas in period carved and giltwood frame.

This charming double portrait is full of symbolism easily understood by the 18th century viewer; it depicts two brothers in the mythological land of Arcady or Arcadia. For some time it had been very fashionable, for adults as well as children, to be depicted as shepherds.
The lambs are a traditional symbol of innocence and virtue, in which guise they fit perfectly into Arcadia, the land from which all guilt and sin have been banished.
The dog represents loyalty and obedience, character traits considered desirable in the young.
The bird represents the transience of life, and especially youth, as it can easily fly away.
As guardian of the flock, the older brother holds the shepherd's crook and his arms are protectively around the younger boy.

The artist is an unknown provincial; although he has been influenced by the fashionable portrait painter Charles Jervas his style has a direct, rather naive quality which has great appeal. Double portraits of children are most uncommon and this one pleases in several ways .. not least in the amusing depiction of the fluffy lambs!

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:50.5 x 41.75 inches inc. frame
PROVENANCE: For many years the property of a noted collector in Bath, Somerset.
With Roy Precious Fine Art.
Collection of a Fellow of a Cambridge College.