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Our website was last updated on: 24 July 2016
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SOLD.....Portrait of a Lady c.1675; Circle of Henri Gascar.
Oil on canvas in carved giltwood frame.

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 and her hunting dogs are by her side.
The celestial character of Diana is reflected in her connection with light, inaccessibility, virginity, and her preference for dwelling on high mountains and in sacred woods. She is seen as active in ensuring the succession of kings and in the preservation of humankind through the protection of childbirth.

At this time in the 17th century to have oneself painted as a character from myth, legend or even as a saint was the height of fashion.

HENRI GASCAR (1635 – 1 Jan 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 skillful 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.

On his return to Paris, Gascar was elected a member of the Académie Royale on 26 October 1680. He subsequently went to Rome, where he enjoyed a high reputation, and died there in January 1701, aged 66.

SIZE: 34 x 29 inches inc. frame.
PROVENANCE: Private Collection, Berkshire.
Ref: 8618
This item has been sold

SOLD.....Portrait of a Young Lady c. 1765; Circle of Francois-Hubert Drouais
Oil on canvas in a good carved and giltwood frame, modern but of the correct 18th c. French style.

The sitter, a beautiful young French lady, is dressed in the height of fashion for an outdoor stroll. She leans on a stone balustrade whilst holding roses...the symbol of youth, beauty and love, but also a symbol of time and how quickly it passes.
One rose is still little more than a bud, as if to say that the girl has yet to bloom into her full mature beauty...time is still on her side.
The sitter looks confidently, almost provocatively, at the viewer; secure in her wealth and youth.

This is an attractive portrait extremely well painted...the treatment of the silks, lace and the youthful flesh tones are very accomplished.

FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.

SIZE: 34 x 30.5 inches inc. frame.

PROVENANCE: Private Collection.
Ref: 8459
This item has been sold

SOLD.....Portrait of Mother and Child c.1795-1800 by Weaver.
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.
Ref: 8643
This item has been sold

SOLD.....Portrait of Sir Richard Weston, c. 1630; Attributed to Cornelius de Neve
Oil on canvas in fine 18th c. carved and giltwood frame.
A very sensitive and perceptive portrait beautifully executed in every way.

SIR RICHARD WESTON (1591-1652), eldest son of Sir Richard Weston of Sutton Place, Surrey, succeeded to the family estates on the death of his father and was knighted at Guildford in 1622.
He was a Royalist and a Catholic and his estates were sequestered by Parliament during the Civil War.

During his exile abroad, when he stayed at Ghent, Bruges and Antwerp, he studied agricultural practices of the Low Countries and wrote a discourse on husbandry. Subsequently he introduced to Surrey a scheme whereby rivers and canals became navigable by means of locks and he attempted to make the Wey navigable from Guildford to its junction with the Thames at Weybridge.

The scheme was finally completed in 1653 after his death. He also introduced agricultural improvements, notably the cultivation of rich crops of hay from irrigated meadows and a new scheme of rotation founded on the cultivation of clover, flax and turnips.

He married Grace, daughter of John Harper of Cheshunt, who died in February 1669. They had seven sons and two daughters.

His ancestor, Francis Weston, was implicated in the fall of Anne Boleyn, convicted of adultery with the Queen and executed in 1536.

Richard's father, Sir Henry, entertained Queen Elizabeth twice at Sutton Place; the mansion was built by Sir Richard Weston in the 1520s and 30s probably by the Hampton Court builders.
It is reputed that King Henry VIII met Anne Boleyn at Sutton and the house remained in Weston ownership until the 19th century.
The late John Paul Getty lived and died in this renaissance house; prior to his ownership the press baron Lord Northcliffe lived there.

In 1986 Sutton Place was purchased by the American billionaire Frederich Koch as a home for his art collection; the house and estate are now for sale.

CORNELIUS DE NEVE, also known as Leneve, (c.1594-1678, painting from c. 1612). Born in Antwerp, he was a portrait painter of Netherlands stock living in England. It is thought he trained in Holland under Miereveld, but working in London by 1627. His later style has some connection with Thomas de Critz, his stepfather.
The portrait of Sir Richard is typical of his style and quality; he emphasises the sitter by placing him before a neutral background and also illuminates the sitter's face to give great depth to the work.
He also revelled in painting detail; here the sitter's features and costume are exceptionally well observed, especially the subtle detailing to the silk doublet.

SIZE: 37.75 x 32.5 inches inc. frame

PROVENANCE: Sutton Place, Surrey.

Ref: 8396
This item has been sold

SOLD....An English Flagship off a Port c.1705, by Tobias Stranover.
Oil on canvas in giltwood frame, signed lower left.

A fine marine painting by Stranover depicting a squadron of English warships off a Continental port.
In the background can be seen a beached vessel being careened and, judging by the smoke, re-tarred.
The artist captures the beauty of the heavily gunned ship of the line as she heels with the shore wind, her stern carved with the elaborate gilt 'gingerbreading' fashionable around 1700.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

TOBIAS STRANOVER (Stranovius) (1684-1756) was a Transylvanian Saxon painter in England, born in Sibiu.
Stranover arrived in England in 1702 in the company of the English Ambassador to Constantinople, William Paget, who had met him in Transylvania. He studied painting under the mastership of his father-in-law in London. He worked in the Netherlands, Hamburg, Dresden and London.
Stranover did very well in England and it was said, soon after his arrival, that he "already excels amongst painters".
His speciality became still lives and flower paintings but this seascape, one of his earliest works, shows he was equally talented as a sea painter.
According to most references Stranover died 'after 1724' or 'after 1731', however, a letter from his brother-in-law mentions him alive in 1733 and on p.396 of the London Magazine of 1756 a laudatory poem dedicated to him mentions the exact date of his death: February 26, 1756.

SIZE:54 x 36 inches inc. frame.
PROVENANCE: Sir John Tomlinson Hibbert KCB (1824-1908) of Hampsfield, Lindale, nr. Grange over Sands.
Thence by descent through the family to the present day.
LITERATURE: E.H.H. Archibald 'Dictionary of Sea Painters'. Illustrated p.265, plate 134. (see Image 5).
Ref: 8653
This item has been sold

SOLD....Anne of Austria, Queen of France; French School, 17th century
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 clothing....in 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'

Ref: 8418
This item has been sold

SOLD....Double Portrait of a Lady and Child c.1820; Circle of Reinagle.
Oil on canvas (now mounted on board) in reproduction gilt frame.

An attractive and well painted double portrait of a mother and child painted in the Regency period; the mother, dressed very fashionably, looks out with a quiet pride.
Meanwhile the infant, rather touchingly, waves at the viewer from across the centuries. The fact that the identities of the sitters are unknown and we do not even know the gender of the child somehow renders the portrait more poignant.

The father of the child, husband of the lady, a legal gentleman, is also on this website, our ref: 8635.

RAMSAY RICHARD REINAGLE, (19 March 1775 - 17 November 1862) was an English portrait, landscape, and animal painter, and son of Philip Reinagle, he was a pupil of his father, whose style he followed. He exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters.
Reinagle exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823.

PLEASE NOTE: There is also similarity to the work of the American artist REMBRANDT PEALE (1778-1860). Peale was an artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Peale's style was influenced by French Neoclassicism after a stay in Paris in his early thirties.

SIZE: 40.75 x 39.75 inc. frame.
PROVENANCE: Private Collection, Somerset.
Ref: 8638
This item has been sold

SOLD....Marble Portrait Bust of the Sculptor's Lover c.1925, by Janko Brayovitch.
A superb quality marble bust by Janko Brayovitch (1889 - 1947).
The sitter, Brayovitch's mistress, exquisitely carved from a large block of fine marble, is depicted with her head gracefully turned and her downcast eyes are half closed, as if in some delicious, drowsy reverie. Despite the nudity and the unquestioned erotic charge of the sculpture there is a great sense of peace and a feeling of quiet contemplation.
It is signed on the reverse of the plinth 'J. Brayovitch' accompanied by a carved circular symbol, the significance of which is not known.

Born in Montenegro, Janko Brayovitch studied at the High Academy of Sculpture in Vienna. After the First World War he emigrated to Britain, where he settled in Hampstead, London.
Many of his works were portrait busts in marble, bronze or a mixture of both.

In 1928 he was invited to Canada to sculpt the famous soldier General Burnham and his wiife. These busts were unfortunately destroyed by a fire at the General's house in 1955.
Brayovitch was also commissioned to scupt a bust of Gerald Gratan McGeer, Mayor of Vancouver and reformer of the once corrupt police force. This remains at 453 West 12th Ave. Vancouver.
A bust by Brayovitch of 1933, 'Red Indian', is in the Tate Gallery, London and featured in the exhibition 'Head to Head' in 2004.

Apart from its beauty and the consummate skill of its creation what makes this bust utterly unique is that it is of Brayovitch's lover and therefore a very intimate piece.
It was kept by her long after his death in 1947 until the 1970's, when it was sold to a collector who owned it for the last 35 years or so.

SIZE: 24.5 inches tall.
* Janko Brayovitch.
*The sitter.
*Hillersdon House nr. Cullompton, Devon.
Ref: 8585
This item has been sold

Pair of oils on canvas in elaborate gilded frames.

John Brickdale was the son of Matthew Brickdale M.P. (see portrait 8576), he was born c.1760 in West Monkton, Somerset. His grandfather, also John, and his father had a very successful drapers in High Street, Bristol. On the death of his grandfather in 1765, his father Matthew inherited the enormous sum of £100,000 and, abandoning trade, turned to politics.
John followed his footsteps.

Although the family was wealthy and his father now an MP, John wished to distance himself even further from the then perceived stigma of being in trade. Accordingly he married Anne Inglett Fortescue on 20 February 1787 in St. Gregory's Church, Dawlish, Devon. The Fortescues were an ancient landed gentry family, socially superior to the Brickdales.
The union resulted in six children.

(Interestingly, a later descendent, Eleanor Fortescue Brickdale (1871-1945) was a noted Pre-Raphaelite artist; she was so admired by the famous painter George Frederick Watts that he claimed her work to be so fine it made him want to throw away his brushes and paint no more.)

John became an MP and Deputy Lieutenant for Somerset and Devon.
In his will he left £200 to the Bristol Infirmary and £100 to that of Shrewsbury.

As he rose socially John's father Matthew had bought the manors of East and West Stoodleigh about the year 1779.
Stoodleigh Manor, the family home, lay in the hundred of Witheridge and in the deanery of South Molton, about seven miles from Tiverton.

John sold these estates, in 1819, to John Nicholas Fazakerly, Esq., M. P.
The ancient house was demolished in 1881 and replaced by the Victorian Gothic Stoodleigh Court, now an hotel.

HENRY SINGLETON (1766 - 1839) was born in London, England on 19 October 1766. He died in London, at the house of a friend at 7 Kensington Gore, on 15 September 1839, and was buried in the church of St Martin-in-the-Fields, London.

Singleton exhibited at the Royal Academy, between 1784 and 1839, approximately 300 works, a large proportion of which were portraits, He was for many years the oldest living exhibitor at the Royal Academy. His works were also exhibited at the British Institution from 1806 and at the Society of British Artists from 1824 until his death in 1839.

From the age of sixteen, Henry Singleton worked as a professional portraitist. He attended the Royal Academy Schools from the age of seventeen and won the silver medal in 1784. His painting from John Dryden’s ode Alexander’s Feast won the gold medal in 1788. In 1793, he was commissioned by the Royal Academy to paint a group portrait of forty of the academicians.
His portrait work was always in demand... Lord Nelson, Admiral Vernon, Lord Howe, John 'Mad Jack' Fuller,Sir W. Chambers, James Northcote, Thomas Sandby, Richard Cosway and Johann Zoffany are among his portrait sitters.

In 1807 he married his cousin, William Singleton’s only daughter; the mariage was of short duration as she died in 1811.
Henry Singleton’s works are currently in the collections of: The British Museum, the Victoria and Albert Museum, the National Portrait Gallery (London), the Scottish National Portrait Gallery, Tate Britain, the Ulster Museum, and the Brighton Art Gallery.

SIZE (of each portrait) 40 x 35 inches inc. frame.
PROVENANCE: by descent.
Verso; old inscriptions. 'John Brickdale of Stoodleigh, Devon by Singleton. Painted in 1814' and 'Anne Fortescue Wife of John Brickdale by Singleton. Painted in 1814'


Ref: 8574/5
This item has been sold

SOLD....Pair of Portraits of John and Jane de Carteret 1750s: Attributed to Hamlet Winstanley.
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".

Ref: 8646/7
This item has been sold

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