Double portrait of Elizabeth, Lady Thimbleby and ...

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Double portrait of Elizabeth, Lady Thimbleby and her sister Dorothy, Viscountess Andover, later Countess of Berkshire (1611-1691), with a cupid.
oil on canvas in a giltwood frame.

This is a version of the portrait in the National Gallery, London (NG6437), formerly in the Spencer Collection at Althorp. The subject depicts two of the six daughters of Thomas, 1st Viscount Savage (1586-1635) and his wife Elizabeth Darcy, suo jure Countess Rivers (1581-1650).

Elizabeth married in 1634, while Dorothy married in 1637. In the composition a cupid offers roses to the seated figure, which suggests a marriage is being celebrated. The flowers are fittingly an attribute of St. Dorothy, namesake of the Countess of Andover. Dorothy's marriage had certainly been a love match, as Dorothy had eloped with Charles Howard before actually marrying him.

There is some debate as to the identification of the sisters, as well as the date of the original painting in the National Gallery, London. Recently however Walter Liedtke and Michelle Safer, following the discovery of another studio version of the composition inscribed with the sitters' identities in a private collection in New York, and re-appraising the iconography of the composition, have suggested that the identities are Dorothy standing, whilst it is her younger sister Elizabeth who is the principal figure, seated in yellow. Liedtke and Safer also suggest that the composition in fact celebrates Elizabeth Savage's marriage to Sir John Thimbleby of Irnham (d.1662), on 29 September 1635, and it is now generally accepted that this identification is correct and that the original painting in the National Gallery can be dated to circa 1635.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic Royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE: 59 x 66.5 inches including frame.
PROVENANCE: Possibly James Howard, 3rd Earl of Suffolk (1606/7-1688), first cousin of Charles Howard, Viscount Andover, later 2nd Earl of Berkshire (1615-1679), who married Dorothy Savage in 1637. Suffolk married, in 1682 as his third wife, Ann Montagu (circa 1667-1720), daughter of Robert, 3rd Earl of Manchester (1634-1683);
Possibly by inheritance, following Suffolk's death in 1688, to his wife Ann, who returned to live with her family at Kimbolton Castle; Thence by descent in the collection of the Dukes of Manchester, at Kimbolton Castle, Cambridgeshire, to Alexander Montagu, 10th Duke of Manchester (1902-1977); By whom sold, Kimbolton Castle sale on the premises, Knight, Frank & Rutley, 18 July 1949, lot 18 (as a portrait of the Countesses of Rutland and Southampton);
Miss Marjorie Pollard, OBE (1899-1982)
Sold by Phillips 8 October 1982, lot 243, to The Hon. M. Howard of Faith Wood House, Gloucestershire.
Verso: two collection seals and inscriptions.
LITERATURE:Sir Oliver Millar, et al., Van Dyck: a complete catalogue of the paintings, New Haven and London 2004, p. 436;
W. Liedtke and M. Safer, 'Reversing the roles: Van Dyck's portrait of Lady Elizabeth Thimbleby with her sister Dorothy Savage' in The Burlington Magazine, February 2009, vol CLI, no 1271, p. 80.

Portrait of Princess Henrietta Anne Stuart c.1665, ...

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Oil on canvas in carved and giltwood period frame.

Princess Henrietta Anne Stuart, Duchess of Orleans (1644-1670) was painted by Sir Peter Lely a number of times. Other versions of this portrait are at Goodwood House in the Collection of the Duke of Richmond and Gordon, and a quarter length in the National Portrait Gallery.This superb portrait, which has been in a private collection for at least the last 50 years, has recently had old discoloured varnish removed and been expertly conserved.
It was previously thought to be entirely painted by Lely's studio, copying the master's original. However, now the exquisite brushwork can be seen clearly.
Catherine MacLeod, Senior Curator of Seventeenth-Century Portraits at the National Portrait Gallery, and the acknowledged expert on Lely's work, remarked in particular on the quality of the yellow drapes and the hands, saying this was likely to be Lely's work. (This on the strength of images, so the usual caveat applies). Adam Busiakiewicz, art historian, is of the same opinion.

Princess Henrietta Anne Stuart was the youngest daughter of King Charles I of England, Scotland and Ireland and his wife, Henrietta Maria of France. Fleeing England during the Civil War with her governess at the age of three, she moved to the court of her first cousin Louis XIV of France. After she married Philippe I, Duke of Orléans, brother of King Louis XIV, known as Monsieur, she became known as Madame. Her marriage was marked by frequent tensions.
Henrietta travelled to England to negotiate the Secret Treaty of Dover which would ultimately be the direct cause of the Third Anglo-Dutch War. Only a few days after returning to France Henrietta, who had been complaining of intermittent pain in her side since 1667, collapsed after drinking a glass of chicory water and died; many, including the victim, believing she had been poisoned.
Jacobite claims to the throne of Great Britain following the death of Henry Benedict Stuart descend from her through her daughter Anne Marie, Queen of Sardinia.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. His work was strongly influenced by that of Sir Anthony van Dyck. Dutch born as Pieter van der Faes, he became Principal Painter to the King, painting everyone of importance and maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Studio, many of them talented artists in their own right, went on to establish independent careers.

SIZE: 52.5 x 43 inches including the frame.
PROVENANCE: English private collection for at least the last 50 years.

Portrait of Lady Penelope Herbert c.1640; Studio ...

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Oil on canvas in a magnificent and rare Sunderland, or auricular, frame.
This superb portrait is a period copy of van Dyck's lost original and was with the Dukes of Hamilton for centuries, and latterly in a Private Collection for the last 76 years.

LADY PENELOPE HERBERT, nee Naunton, later Countess of Pembroke. (1620-1647) In 1634 Penelope had married had married Paul, 2nd Viscount Bayning, who died aged 22 in 1638. Penelope, a year alter, married Philip, Lord Herbert, later Viscount Montgomery and Earl of Pembroke.
The Pembroke family were among van Dyck's most important patrons.
Penelope sat for van Dyck on a number of occasions, including for the original of this portrait, which is recorded in an engraving of it by Pierre Lombard for the 'Countesses' series of c.1660. A further version is at Burghley House, painted by Joan Carlisle (1606-1679).
This pose, three quarter length, turning to the viewer, is a characteristic pose employed by Rubens and van Dyck. The elegant hand gesture, as the sitter lightly touches a gauze scarf, features in a number of van Dyck's female portraits.

* Probably James Hamilton, 1st Duke of Hamilton, Hamilton Palace, before 1643, and thence by descent until their sale, Christie's, Hamilton Palace, 17 June 1882, lot 1085 bt. Duncan for £73 10s)
*Collection of Christopher Beckett Dennison, Grosvenor Street, London
*His sale, Christie's, London, 13 June 1885, lot 899
*Private Collection, UK, since 1942.

Hamilton Palace Inventory, circa 1643, no. 294, as 'One peice (sp) of the Lady Herbert to the knees with a scarfe flying over her shouldier (sp), a coppy (sp) after Sr Anthony'.
VERSO: Old inventory label; Hamilton Palace no. 11.

SIZE: including frame: 59 x 48 inches.
Canvas size: 49 x 39.5 inches. (124.8 x 97.7 cm)


Portrait of James Francis Edward Stuart c.1692; ...

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oil on canvas in original carved and giltwood frame.

This is a very rare and important image of Prince James Francis Edward Stuart, Pretender to the English throne. Painted c.1692, when he was four, Studio or Circle of Largilliere who painted the original large family group portrait in 1691. The prince wears a dress as was the custom for boys until they were 'breeeched' at the age of seven.

In an era with no mass communication as we understand it, portraits were power; Henry VIII was the first to really understand this. These Jacobite portraits were essential in maintaining the Stuarts in people's minds; visual propaganda. The implied message was that the Stuarts were merely absent from the country and throne for a while, waiting an inevitable restoration. The frequent Jacobite invasions, plots and rebellions were partly made possible by the fact that people could visualise the princes for whom they risked their lives.

The paintings, mainly miniatures, went to the wealthy, engravings to the less wealthy. Note that the prince wears the blue sash and badge of the Order of the Garter as a statement of legitimacy and right to the throne. The small size of this portrait meant that it could more easily hidden if necessary, as to own it was treason.
This image is based on a large family portrait painted by Largilliere in 1691. It would have been the most up to date likeness of the prince until he was painted again by Largillliere in 1694 when he was six.

When King James II adopted Catholicism, and then had an heir, James Francis Edward, Protestant aristocrats turned to the Protestant William of Orange and his wife Mary Stuart. When William and his army arrived in England King James and his family fled to Catholic France.
King Louis XIV lent the Stuarts a chateau as a temporary residence; they were there for 25 years, and never returned to power.
The young Prince James, later known as the Old Pretender, failed in his invasion of Britain in 1715, as did his son Prince Charles, the Young Pretender, in 1745.

Our thanks to Adam Busiakiewicz, art historian, for his research and help with this portrait.

NICHOLAS DE LARGILLIERE (1656-1746) Largillière left France at the age of eighteen and went to England, where he was befriended and employed by Sir Peter Lely for four years at Windsor, Berkshire.
His painting caught the attention of Charles II, who wished to retain Largillière in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largillière, who left for Paris, where he was well received by the public as a painter.

Upon ascending to the throne in 1685, James II requested Largillière to return to England. James II offered Largillière the office of Keeper of the Royal Collections, but he declined due to his continuing unease about Rye House Plot. However, during a short stay in London, he painted portraits of the King, the Queen Mary of Modena, and the Prince of Wales James Francis Edward Stuart.
In Paris, in 1690, Largillière was documented by the French Academy.
Largillière was appointed as Chancellor of the French Academy in 1743. He died on the 20th March, 1746.

SIZE: 25 x 20.5 inches including frame.
PROVENANCE: In the 19th century, William Smith, M.P. North Lonsdale, Justice of the Peace, Barrister at Law, of Newsham House, Broughton, near Preston, by descent to his son William Bernard Stanislaus Smith, J.P, Barrister at Law, born 1874, married 1902 to Florence Clara Ruby Jay, on his death the portrait passed to his widow who died in Chester, leaving a large estate; then to her Great Niece, from whom came the painting.

Portrait of Lady Anne Campbell c.1715; by ...

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Oil on canvas in old reproduction frame of appropriate type.

This superb portrait of the beautiful young Lady Anne Campbell is one of Dahl's most sensitive and gentle portraits of a woman.
She wears none of the accoutrements of her rank...the usual fashionable pearl ear pendants and necklace are absent.
She looks pensively out at the viewer, holding in her right hand, a sprig of jasmine, which, in the language of flowers, symbolises amiability of character.
Unlike the swagger and confidence depicted in most three quarter length portraits of the period here Dahl suggests innocence and vulnerability.

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.

LADY ANNE CAMPBELL (c.1696-1736), daughter of Archibald Campbell, 1st Duke of Argyll.
Lady Anne, the youngest of three children by Campbell's wife Lady Elizabeth Tollemache, married James Stuart, 2nd Earl of Bute (1696-1723) in 1711, becoming Lady Anne Stuart, Countess of Bute at the age of 15 - 17.
She bore him eight children.
Upon his death in 1723, she married Alexander Fraser, 7th Baron of Strichen, in September 1731.
Anne died in 1736, aged 40, and her husband died c.1775.

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: 57 x 48 inches inc. frame.
*Lt. Col. Ernest Henry Dene Stracey (1871-1948)
*Sold by his executors at Christie's, June 25th 1948, bought for 10 gns by Wiggins, as by Dahl
*Hon. Francis Bowes-Lyon, Ridley Hall, Northumberland.(image 9)
*Reynolds Gallery, Barbican, Plymouth, sold 1980, as by Dahl.
*Private Collection.
*Lawrences, Crewkerne, Somerset 2004, as by Dahl.
*Private Collection, Somerset.

Portrait of Charles (Karl) Emil, Prince ...

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Oil on canvas in modern reproduction frame.

Rare and important, this is a superb quality portrait, a free copy by van der Stock after Mijtens, based on a detail of the large portrait of the prince's father and family: Portrait of Frederick William, Great Elector of Brandenburg 1620–1688, with Luise Henriette of Orange and the Princes Karl Emil, Frederick etc. Painted c. 1664/67 by Jan Mytens (Johannes Mijtens).
Various copies of the grandchildren of Amelie van Sohms (the mother of Luise Henriette of Orange) were made from this work. In the inventories of one of Amalia's other daughters, Henriette Catharina, there are many assignments to Paulus van der Stock for copying the work of Mytens from 1664 onwards.

KARL (CHARLES) EMIL, Electoral Prince of Brandenburg (16 February 1655, Berlin – 7 December 1674, Strasbourg) was a German prince as heir-apparent to the Electorate of Brandenburg.

He was the second son of Frederick William, Elector of Brandenburg, and his first son to survive infancy - his elder brother William Henry had died at less than two years old in 1649. Born on his father's thirty-fifth birthday after six years of unsuccessful pregnancies for his mother Countess Luise Henriette of Nassau, he was much hoped-for and was raised to be like his father - spirited, quick-tempered and always in favour of war and the hunt (the most effective way of subduing him was always for his tutor to take away his sword for a few days).

In 1670 he was made colonel of the Regiment Radziwill zu Fuß and four years later he and his father headed the Brandenburg force on its incursion into Alsace during the Franco-Dutch War. The campaign soon became mired into incessant maneuvering with the imperial commander Bournonville afraid or unwilling to give battle. A cold wet autumn arrived, leading to supply and sanitary problems and disease in the Brandenburg army. Charles became ill late in November and at the start of December was sent to Strasbourg to recover. After seven days of a rising fever, he then died of dysentery at the age of 19.

Our thanks to Adam Busiakiewicz, art historian, for research, and to Sabine Craft-Giepmans MA, Head of Fine Arts until 1750 at the RKD - Netherlands Institute of Art History, for the identification of the artist and confirmation of the sitter.

SIZE: 43.5 x 38 inches inc. frame.
PROVENANCE: Many years in a Suffolk farmhouse, unframed and dirty, where identities of sitter and artist were forgotten.


Portrait of Guilford Killigrew 1709, by John ...

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Oil on canvas in a fine quality period frame.
The attractive young sitter points towards a plumed helmet, his hand grasping a sword; this is a reference to his aristocratic ancestry and his intention to become a soldier.
His coat of arms, name and the year 1709 are inscribed on the stone plinth.

GUILFORD KILLIGREW was born circa 1695. He was the son of Charles Killigrew and Jemima Bockenham.
He served as a cornet and later Lt Col of Lord Mark Kerr's Regiment of Dragoons according to the 1740 army list.
Guilford died on 18 February 1751. He left no issue. He was described as Lt Colonel of Kerr's Dragoons.
His will was proved on 23 July 1751 at the Prerogative Court of Canterbury. He left his property in trust for Guilford Boyes, living under his protection, who was baptised 22 Sep 1730 at Allerton in Yorkshire, as daughter of John Boyes, and apprenticed to a milliner in Manchester. A Guilfred Killigrew married on 18 Sep 1759 at Manchester Cathedral to John Wright.

Guilford's father was Charles Killigrew (1655–1725) an English courtier, theatre manager and Master of the Revels.
Born at Maastricht on 29 December 1655, he was son of Thomas Killigrew the elder, by his second wife, Charlotte, daughter of John de Hesse of Holland. He was Gentleman of the Privy Chamber to Charles II, 1670, James II, 1685, and William III and Mary II, 1689. He was Master of the Revels in 1680, patentee of Drury Lane Theatre in 1682, and Commissioner of Prizes in 1707.
Killigrew lived at Somerset House, London, and Thornham Hall, Suffolk. His varied acquirements won him the friendship of John Dryden (cf. Dedication of Juvenal, 1693, p. xxiii), Humphrey Prideaux, and others. He was buried in the Savoy Hospital on 8 January 1725, leaving by his wife Jemima, niece of Richard Bokenham, mercer, of London, two sons, Charles (died 1756) and Guilford. His library was sold in the December following.

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
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.

SIZE: 67 x 42.25 inches including frame.
*By descent through the Killigrew family of Thornham Hall, Eye, Suffolk.
*The Collection of the late Anne, Lady Winnington of Brockhill Court, Worcestershire, and London.
Verso: a label dated 1937 incorrectly attributing the portrait to Kneller.


Portrait of Margaret Neville; attributed to Henri ...

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Oil on canvas in a fine carved and giltwood 18th century frame. Traditionally called Margaret Brooke, nee Neville, it seems more likely that the sitter was perhaps a daughter of Margaret. Margaret was born in 1618 and died in 1673. Her clothes, hairstyle and the working life of the artist Henri Gascars do not fit these dates; this portrait was painted c1680.
Lower left, the later inscription, 'Margaret Brooke Wife to/Thomas Brooke Esqr. and/Daughter of Sir Thomas Neville KB./eldest son of Henery 7th Ld/Abergavenny'

Margaret Neville was the daughter of Sir Thomas Neville KB, and married Thomas Brooke Esq.
In this delightful portrait, probably painted for a betrothal, the sitter holds flowers (peonies, which signify sincerity) and with a number of them in her lap. These latter signify her youth and future fruitfulness...the prime task of any aristocratic wife was to bear children, preferably a male heir. In her hair are some jasmine flowers, signifying aimiability of character.

HENRI GASCAR (1635 – 1701) (also Gascard, Gascars) was a French-born portrait painter who achieved artistic success in England during the reign of Charles II.
He painted many leading ladies at court, including several of the King's mistresses.
Gascar came to England about 1674, probably at the behest of Louise de Keroualle, Duchess of Portsmouth, Charles II's favourite mistress at that time. Gascar (or Gascard, as he seems to have spelt his name at first) was already known as a skilful portrait-painter.

His flamboyant style, contrasting with the stolid English approach, seemed to suit the frivolity of the time and he painted many of the ladies of Charles II's court. His lack of attention to detail in the likeness he made up for by the sumptuous draperies and adornments around the subject.

SIZE:57 x 47 inches inc. frame.

PROVENANCE: Linley Hall Collection.
Probably by descent to Catherine Smitherman and by descent to her daughter Catherine Edwardes and by descent to;
Sir Henry Hope Edwardes Baronet, of Wootton Hall, Derbyshire, and by descent to;
Colonel Herbert James Hope Edwardes, Netley Hall, Shropshire, and by descent to;
Lady More (nee Hope Edwardes, formerly Coldwell), Netley Hall, and subsequently Linley Hall, Shropshire, and by descent to;
the Late Sir Jasper and Lady More, Linley Hall.
After Lady More died in 1994, the house and collection were left to her her cousin and godson, who has now sold the house and dispersed the collection.
(The Edwardes family can trace their ancestry to the princes of Powys, the More family to the 13th century).

LITERATURE: Illustrated in situ in a photograph of the drawing room, Netley Hall c.1905, and subsequently at Linley Hall, c.1960.
T.Cox, Inventory of the contents of Netley Hall, Shropshire, 1917, page 4 (drawing room).


Portrait of a Lady, Possibly Elizabeth Trentham, ...

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Oil on canvas in a good carved and giltwood frame.

The sitter, possibly Elizabeth Trentham, holds, by its chain, a very fine and costly watch; the significance of this is not clear. It is most unusual for a female sitter to be shown with such an item...does it represent the inevitable passing of time? Was it the cherished possession of a deceased male relative? Attached to it is a black ribbon, symbol of mourning.

Regardless of the identity of this lady this is a high quality portrait by an artist strongly influenced by Lely's style of the early 1660s, to the extent of showing the sitter's left hand raising the material of her dress, as Lely often depicted his sitters doing; witness his portraits of Catherine of Braganza, Diana, Countess of Ailesbury and Frances Teresa Stuart.

Elizabeth Trentham was born in 1640, she was the daughter of Francis Trentham. She married Brien Cokayne, 2nd Viscount Cullen of Co. Tipperary, son of Charles Cokayne, 1st Viscount Cullen and Lady Mary O'Brien, before 1 April 1657.
She became Lady of the Bedchamber to Queen Consort Catherine.
She died on 30 November 1713.
(Image 8 shows a portrait of Viscountess Cullen, painted by Sir Peter Lely, at Kingston Lacy, Dorset.)

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Dutch born as Pieter van der Faes, he became Principal Painter to the King, painting everyone of importance and maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 55 x 46.25 inches inc. frame.
PROVENANCE: French Private Collection.
English Private Collection.
Verso: fragmentary old Parisian storage label and two inventory numbers.


Portrait of Mary, Lady Killigrew c.1637: Studio ...

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Oil on canvas, unframed.

Lady Killigrew here gazes out at the viewer directly. By the late 1630s, van Dyck seems to have devised for his female portraits a less specifically fashionable form of dress. Clearly the prestige of being painted by him was such that his sitters were prepared to accept this. Mary is shown in just such a gown – simplified, and minus the kind of richly textured lace that was so time-consuming to paint – and which has thus become a ‘timeless’ version of contemporary dress. It is clear that van Dyck had absorbed ideas from Venetian painters.
Van Dyck maintained a busy studio; he had a number of talented assistants to help meet the demand for his work. Working under his eye they would produce copies of his portraits if more than one was required.

MARY HILL (c.1610 -1686) was the daughter of John Hill of Honiley, Warwickshire. She married Sir William Killigrew, son of Sir Robert Killigrew and Mary Wodehouse, in 1626.
Sir William Killigrew (1606-1695) was a courtier to Charles I, and also later a playwright. Mary was a dresser to the queens Catherine of Braganza and Henrietta Maria.
William Killigrew was knighted by Charles I in May 1626 – probably shortly after his marriage to Mary Hill. They took a Grand Tour of Europe before Sir William was elected M.P. for Newport and Penryn in Cornwall, and appointed Governor of Pendennis castle and Falmouth Haven. He was made Gentleman Usher to King Charles I, studying with him at Oxford and commanding one of the horse troops that guarded the King during the Civil War.

The couple were to have seven children in all. As Royalists, the couple were forced by poverty to live apart during the Civil War and Commonwealth period. They were re-united at the Restoration of the Stuart monarchy in 1660, when Sir William regained his earlier court post and Lady Mary became dresser to the dowager Queen Henrietta-Maria.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic Royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE:29.5 x 24.5 inches.
PROVENANCE: With Philip Mould (Historical Portraits).
Private Collection.


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Oil on canvas in a good 18th century William Kent frame.
The Duchess sits beside an orange tree and holds one of its flowers.
Oranges were an expensive luxury in Northern Europe, coming as they did from the warm South. They also has considerable symbolic significance.
The orange tree bears leaves, flowers and fruit all at the same time. The leaves, which are evergreen, are the symbol of eternal love, the white flowers represent purity and generosity of spirit and the fruit represents hope for the future of a family or dynasty.
In the upper left of the portrait is depicted the coat of arms for the Spencer-Churchill family.
The Hon. ELIZABETH TREVOR, DUCHESS OF MARLBOROUGH, was the daughter of the Thomas Trevor, second Baron Trevor of Bromham and wife of Charles Spencer, fifth Earl of Sunderland and third Duke of Marlborough.
Charles Spencer, 3rd Duke of Marlborough KG, PC (1706 – 1758), known as The Earl of Sunderland between 1729 and 1733.
He was a British soldier and politician. He briefly served as Lord Privy Seal in 1755. He led British forces during the Raid on St Malo in 1758.
He was the second son of Charles Spencer, 3rd Earl of Sunderland and Lady Anne Churchill, the second daughter of John Churchill, 1st Duke of Marlborough and his wife Sarah Churchill, Duchess of Marlborough.
Charles inherited the Sunderland title from his older brother in 1729, becoming 5th Earl of Sunderland, and then the Marlborough title from his aunt, Henrietta, 2nd Duchess of Marlborough in 1733.
He was one of the original governors of London's Foundling Hospital, the foundation of which in 1739 marked a watershed in British child care advocacy and attitudes.
The Duke and Duchess had five children:
Lady Diana Spencer (1734–1808). Married first Frederick St John, 2nd Viscount Bolingbroke and secondly Topham Beauclerk.
Elizabeth Herbert, Countess of Pembroke and Montgomery (January/March 1737 – 30 April 1831). Married Henry Herbert, 10th Earl of Pembroke.
George Spencer, 4th Duke of Marlborough (26 January 1739 – 29 January 1817).
Lord Charles Spencer (31 March 1740 – 16 June 1820).
Lord Robert Spencer (3 May 1747 – 23 June 1831)
MARIA VERELST (1680-1744)was arguably the greatest female immigrant artist of the late Stuart/early Georgian era, she was the daughter of Dutch painter Herman Verelst (1641-1690) and niece of the more well-known Stuart court painter Simon Verelst (1644-1710). Maria moved to England at the age of three with her father following the siege of Vienna by the Ottoman Empire and, following her father’s success, later became his student. Well-connected and highly skilled, Maria established herself quickly and her earliest recorded painting dates to c. 1695, painted when Maria was fourteen, and depicts William Wentworth, 2nd Earl of Strafford (1626-1695) [Welbeck Abbey]. Maria painted several works for Welbeck as well as thirteen portraits for James Brydges, 1st Duke of Chandos.
In addition to being a talented painter, Maria was also well educated and spoke a number of different languages which no doubt helped her secure patronage.
SIZE: 60 x 50.75 inches inc. frame.
PROVENANCE: Cheshire Family Private Collection for many years.
With Roy Precious Fine Art.
Collection of a Fellow of a Cambridge College.

Portrait of Elizabeth Cockayne c.1670; by Mary ...

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Oil on canvas in an 18th century Georgian giltwood frame.

This is a beautiful portrait painted with the insight and sensitivity that typifies the best of Beale's female portraits, coupled here with a pensive sensuality.
The sitter is depicted within a feigned carved stone oval, much used by Sir Peter Lely, and which Beale used so often as to be almost a signature.

A label on the frame identifies the sitter as Elizabeth Cockayne (1609 -1688), the second wife of Thomas, 1st Viscount Fanshawe K.B.
However, this is not possible as the sitter's hair and clothes announce a date of the 1670s.

It is extremely probable that this is another Elizabeth Cockayne (1649-1739), nee Cust, daughter of Sir Richard Cust, 1st Baronet (1622-1700) and Beatrice Pury (1623-1715), who married John Cockayne of Cockayne Hatley, Bedfordshire in 1670 which, after the death of their only son Samuel in 1745, passed successively to cadet members of the Cust family, who incorporated the name Cockayne into their own. They had two children; Elizabeth 'Betty' Cockayne (1674017360 and Samuel (d.1745).
The marriage date also fits well with the date of the painting and it could well have been executed to commemorate that event. Elizabeth wears little jewellery, merely fashionable pearls, which also signify virtue and purity, appropriate for such a portrait.
Her clothing, influenced by Classical Roman fashion, was believed to 'elevate the sitter' and give a timeless classic feel to the image.

The portrait came from the Fanshawe family, but not by ancient descent; it was bought at auction in the 1950s by the previous owner's grandfather.
This confusion of identities when many families used the same first names many times is quite commonplace.

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: 33 x 29 inches inc. frame.
PROVENANCE: For the last 60 years or so by descent in the Fanshawe family. With the portrait comes an extensive family tree for the Fanshawes, which shows their 17th century relationship to the Cockayne family.