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Our website was last updated on: 22 January 2017
 
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Portrait of Mary Hume c.1735; Attributed to Thomas Murray
Oil on canvas in good quality period carved and giltwood frame.

Mary Hume (1715-1740) was painted in probably 1735 to commemorate her betrothal to Nicholas Loftus, later 2nd Viscount Loftus of Ely and then 1st Earl of Ely. The marriage followed on 18 August 1736; the union was to be short.

Nicholas Loftus was the eldest son of Nicholas Loftus of Loftus Hall, County Wexford and his daughter Anne Ponsonby, daughter of the the 1st Viscount Duncannon.
The Loftus family was wealthy and long-established in Ireland, being descended from Archbishop Adam Loftus (Lord Chancellor of Ireland and founding Provost of Trinity College Dublin).

Mary was the eldest daughter and co-heiress of Sir Gustavus Hume, 3rd Bt, who was an enormously wealthy landowner with vast estates in County Fermanagh, where he had commissioned Richard Castle to design him a neo-classical mansion, Castle Hume. Hume had been High Sheriff of that county in 1701.
Nicholas Loftus took the suffix Hume when he married.

Mary bore a son, another Nicholas, in 1738, but died in 1740 aged 25.

{Our thanks to Simon Loftus, a direct descendant, for the above information}

THOMAS MURRAY (1663-1735), Portrait painter.
Scottish-born Murray moved to London and studied with a member of the De Critz family before becoming a pupil of eminent portraitist John Riley. In 1703, he painted Queen Anne for the Society of the Middle Temple in London, showing her crowned and in royal robes. His many full-length oil paintings include a portrait of John, 1st Duke of Atholl.
Several of his portraits are in the National Portrait Gallery and include such luminaries as William III and Sir John Vanbrugh, the architect and playwright.

SIZE: 36.75 x 32 inches inc. frame.
PROVENANCE: *by family descent.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.
Ref: 8851
This item has been sold





Portrait of Mary of Modena; Attributed to Caspar Netscher.
Oil on canvas; unframed; recently cleaned, lined and restretchered.
The pose was one used by Netscher previously; the body, drapery and background are based on a portrait of the sitter's daughter-in-law Queen Mary II (now in the Hermitage Museum, St. Petersburg).

MARY OF MODENA (Maria Beatrice Anna Margherita Isabella d'Este; 1658 – 1718) was Queen of England, Scotland and Ireland as the second wife of James II [England] and VII [Scotland], (1633–1701). Mary Beatrice had wanted to join the convent for the Sisters of the Visitation, which was next door to the Modena’s castle. But she had to marry the widowed James, who was the younger brother and heir presumptive of Charles II. Throughout her life, she was first and foremost a devoted and pious Catholic. She was uninterested in politics and devoted to James and their children, two of whom survived to adulthood: the Jacobite (previous Roman Catholic/Stuart dynasty) claimant to the thrones, James Francis Edward, (who would have become James III of England, but later in life known as "The Old Pretender"), and Louisa Maria Teresa.
Born a princess of the northwestern Italian Duchy of Modena, Mary is primarily remembered for the controversial birth of James Francis Edward, her only surviving son. It was widely rumoured that he was a "changeling", brought into the birth-chamber in a warming-pan, in order to perpetuate her husband's Catholic Stuart dynasty. Although the accusation was entirely false, and the subsequent Privy Council investigation only reaffirmed this, James Francis Edward's birth was a contributing factor to the "Glorious Revolution", the revolution which deposed James II and VII and replaced him with his Protestant eldest daughter from his first marriage to Anne Hyde, (1637–1671), Lady Mary, (later Queen Mary II). She and her husband, William III, Prince of Orange-Nassau, would reign jointly on the English Throne as "William and Mary".

Exiled to France, the "Queen over the water" — as the Jacobites called Mary — lived with her husband and children in the Château de Saint-Germain-en-Laye, provided by King Louis XIV of France ("The Sun King"). Mary was popular among Louis XIV's courtiers; however, James was considered a bore. In widowhood, Mary spent much time with the nuns at the Convent of Chaillot, where she and her daughter Louisa Maria Teresa spent their summers. In 1701, when James II died, young James Francis Edward became king at age 13 in the eyes of the Jacobites, as now "King James III and VIII". As he was too young to assume the nominal reins of government, Mary acted as his regent until he reached the age of 16. When young James Francis Edward was asked to leave France as part of the settlement from the Treaty of Utrecht in 1713, which ended the War of the Spanish Succession (1701–1714), Mary of Modena stayed, despite having no family there, daughter Louisa Maria Teresa having unfortunately died of smallpox. Fondly remembered by her French contemporaries, Mary died of breast cancer in 1718.

CASPAR NETSCHER(1639-84) was a Dutch portraitist of Holland's Golden Age of painting. In his early career at The Hague, where he settled in 1651, he also painted genre and religious scenes; but from c.1670 onwards he devoted himself exclusively to the portrait, often of Court members in The Hague, earning a considerable fortune. His reputation was so highly regarded that he was invited to England by King Charles II.
Netscher worked elegantly and with a slight French influence, his paintings exquisitely finished and influencing Dutch portraiture into the 18th century.

SIZE:45.5 x 34.75 inches.
PROVENANCE: With Philip Mould (Historical Portraits).
Private Collection.
Ref: 8810
This item has been sold




Portrait of Mary Sackville, Countess of Dorset; after Kneller. 18th century.
Oil on canvas in a fine quality William Kent giltwood frame.

The British Palladian or 'Kent' frame, with its distinctive outset corners, is called after the architect and designer William Kent (1685-1748); he derived it from the late Mannerist work of Michelangelo, interpreted by Palladio and Inigo Jones. Kent, however, used it as part of a coherent interior, where for the first time architecture, fittings and furniture were designed as a single whole. The painting and its frame were completely integrated with the overall setting. The 'Kent' frame was decorated with strong classical mouldings, such as egg-&-dart, ribbon-&-stave and Greek fret.

This lovely portrait is a head and shoulders version of a large three quarter length of Mary, painted by Sir Godfrey Kneller for Queen Mary II for her collection known as The Hampton Court Beauties.

LADY MARY COMPTON, later MARY SACKVILLE, COUNTESS OF DORSET (1669-1691)was Lady of the Bedchamber to the Queen.
Her father was James Compton, 3rd Earl of Northampton (1622-1681), and her mother was the Hon. Mary Noel (died 1719). In 1685 the sitter married Charles Sackville, 6th Earl of Dorset (1637-1705) KG. They lived at Compt Hall, Waltham Abbey. The union produced two children, Linel Cranfield Sackville, 7th Earl of Dorset, (created Duke of Dorset in in 1720), and Lady Mary Sackville, died 1705, first wife of Henry Somerset, 2nd Duke of Beaufort.
Mary, Countess of Dorset died of smallpox in 1691 aged 22 years.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.

SIZE:32.75 x 28 inches inc. frame.
PROVENANCE: Old Nottinghamshire Private Collection.
Ref: 8942
This item has been sold





Portrait of Mary Trelawney Wigan c.1752; Follower of Allan Ramsay.
Oil on canvas in ornate giltwood and composition 19th century frame.

The sitter is very expensively dressed and carries flowers signifying her youth and future fruitfulness.

The artist was clearly influenced by the successful Scottish portraitist ALLAN RAMSAY (1713-1784) who was at the height of his powers in the mid 18th century. His portraits of women are especially notable for the warmth, tenderness, and bloom of their presentation, as well as for the technical facility with which lace and ruffles are reproduced. The influence of French Rococo portraiture is clear in the lightness and unpretentious elegance of these works.

MARY TRELAWNEY WIGAN (later Mary Trelawney May) was born in 1740, the daughter of the prominent physician, poet and author Dr. John Wigan and his wife Mary, sister of the wife of Colonel Edward Trelawney, Governor of Jamaica and Wigan's oldest friend. (A portrait of Dr. Wigan is also for sale on this website)
The two friends had travelled to Jamaica in 1738. Trelawney settled in Spanish Town, and Wigan married Mary Wheeler, daughter of planter John Douce, soon afterwards.
Wigan, alas, died in December 1739 before his daughter's birth in 1740.
He is buried under a black marble slab at St. Catherine's Cathedral Church in Spanish Town.
His widow Mary later married Daniel Stott.

The widow of Col. Edward Trelawney, Governor of Jamaica, and brother to Sir Jonathan Trelawney, Bart., Bishop of Exeter, was possessed of the manor of Stapledon in Devonshire by her husband's devise, and bequeathed it, in 1778, to her sister Mary, wife of Daniel Stott, Esq.
Mrs. Stott devised it, in 1783, to her daughter (by her first husband, Dr. Wigan,) MARY TRELAWNEY WIGAN, the wife of the Hon. Rose Herring May, one of his Majesty's counsel for Jamaica, (and descended from the Mays of Mayfield in Kent).

SIZE: 57.5 x 48.25 inches inc. frame.
PROVENANCE: Yorkshire Private Collection for many years.
Ref: 8756
This item has been sold





Portrait of Mary, Lady Killigrew c.1637: Studio of Sir Anthony van Dyck.
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.
Ref: 8812
This item has been sold




Portrait of Mary, Princess of Orange (later Mary II), after Lely.
Oil on canvas in reproduction frame.
The sitter within a feigned stone oval.

This little portrait, late 17th or 18th century, is a reduced detail of a large three quarter length painted by Sir Peter Lely in 1677.
Mary (1662-1694) was the elder daughter of James, Duke of York (later James II) and his first wife, Anne Hyde.
She was married to her cousin William III of Orange at the age of fifteen.
When her Catholic father James was ousted at the Revolution of 1688 the Protestant Mary and her husband returned to England from Holland and they were jointly crowned Mary II and William III in 1689.
The original of this portrait was painted at the time of her marriage in 1677. A number of versions of this portrait exist including one in the Royal Collection and one in the National Portrait Gallery.
The rich and daring colour scheme with its clashing orange and red testifies to Lely's skill as a colourist. The choice of orange, an unusual colour in Lely's portraits is perhaps a reference to Mary's new title, Princess of Orange.

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.

IMPORTANT NOTE: This lovely little painting has, at some time in the past, been overcleaned and, as can be seen, the paint is now rather thin. Hence the very low price.
Despite this fault it is still a charming little portrait.

SIZE: 16 x 14.5 inches framed. Image size 13 x 10.5 inches.
PROVENANCE: Private Collection, Sussex.
Ref: 8953
This item has been sold





Portrait of Mary, Queen of Scots, Manner of Federico Zuccaro.
Oil on canvas in a 19th century gilt frame with gold label 'Mary Queen of Scots. Federigo Zuccaro' 1543-1609'.
To the left of the sitter the very faint inscription 'Anno 1564. Aetatis ....'.
Original frame.

This beautiful portrait is in the manner of Federico Zuccaro, but painted c.1840. The queen wears magnificent gold chains, jewellery and a hugely costly dress. The quality of the painting of this opulence is superb, and contrasts perfectly with the sensitive depiction of the sitter's youthful face.

This image dates from the early 19th century when, in continuation of what had happened when after the Stuarts came to power with the accession of Mary's son James I, a process of history rewriting took place, and continued almost to the present day
Mary had been called an adulteress and traitor by the English and was beheaded for plotting to assassinate her cousin Elizabeth I,but under the Stuarts she was presented as a beautiful and religious princess unjustly executed for her Catholic faith.

All through the 17th c, and later, portraits of Mary were created; this one shows her, rather idealised, at the age of 22 in 1564 when she had returned to Scotland after the death of her husband King Francis II of France.

MARY, QUEEN OF SCOTS (born as Mary Stewart and known in French as Marie Stuart; 1542 – 1587), was Scottish queen regnant from 14 December 1542 to 24 July 1567. In the lists of Scottish sovereigns, she is recognized as Mary I. (Not to be confused with Mary I of England.) Her great-great-granddaughter was Mary II of England.
She was the only surviving legitimate child of King James V. She was six days old when her father died and she was crowned nine months later. In 1558, she married Francis, Dauphin of France, who ascended the French throne as Francis II in 1559. Mary was not Queen of France for long; she was widowed on 5 December 1560. After her husband's death, Mary returned to Scotland, arriving in Leith on 19 August 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley. Their union was unhappy and in February 1567, there was a huge explosion at their house, and Darnley was found dead, apparently strangled, in the garden.
She soon married James Hepburn, 4th Earl of Bothwell, who was generally believed to be Darnley's murderer. Following an uprising against the couple, Mary was imprisoned in Loch Leven Castle on 15 June and forced to abdicate in favour of her one-year-old son, James VI. After an unsuccessful attempt to regain the throne, Mary fled to England seeking protection from her first cousin once removed, Queen Elizabeth I, whose kingdom she hoped to inherit. Elizabeth ordered her arrest because of the threat presented by Mary, who had previously claimed Elizabeth's throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in the Rising of the North. After 19 years in custody in a number of castles and manor houses in England, she was tried and executed for treason for her involvement in three plots to assassinate Elizabeth.
When Elizabeth died childless in 1603, Mary's son James VI of Scotland became James I of England. (James was a descendant of Henry VII of England through his great-grandmother Margaret Tudor, older sister of Henry VIII.)

FEDERICO ZUCCARO, also known as Federico Zuccari (c. 1542/1543 - July 20, 1609), was an Italian Mannerist painter and architect, active in Italy and other European countries.
In 1574 he came to England, where he received commissions to paint the portrait of Queen Elizabeth, Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard, and others.
SIZE: 39.25 x 30 inches.
PROVENANCE: Hampshire Private Collection.
Ref: 8944
This item has been sold





Portrait of Mary, wife of George Perrott, early 18th century; Follower of Jonathan Richardson.
Oil on unlined canvas in carved period frame.

It is most unusual for a painting of this age to remain unlined; as a result the canvas has lost a small amount of tension, but, interestingly, as it has not been covered by a lining, the sitter's name can be seen painted on the verso.

An inscription to the sitter's right reads: "MARY wife of GEO. PERROTT Esqr / Baron of the Exchequer / and dau. of Wm. BOWER Esqr / of Bridlington, Yorkshire. / ob:1784."


GEORGE PERROTT (1710-1780), Baron of the Exchequer, born in 1710, belonged to the Yorkshire branch of the Perrotts of Pembrokeshire. He was the second son of Thomas Perrott, Prebendary of Ripon and Rector of Welbury in the North Riding of Yorkshire, and of St. Martin-in-Micklegate in the city of York by his wife Anastasia, daughter of the Rev. George Plaxton, Rector of Barwick- in-Elmet in the West Riding of Yorkshire.
After receiving his education at Westminster School, he was admitted a student of the Inner Temple in November 1728, and was called to the bar in 1732.

He married, in 1742, MARY, only daughter of JOHN BOWER of Bridlington Quay, Yorkshire and widow of Peter Whitton, Lord Mayor of York in 1728. Mary was born in 1702 in Bridlington Quay.

In May 1757 Perrott was elected a bencher of his inn, and in 1759 was made a King's Counsel.
On 24 Jan. 1763 he was called to the degree of Serjeant, and appointed a baron of the exchequer in the place of Sir Henry Gould the younger.
He was seized with a fit of palsy at Maidstone during the Lent assizes in 1775, and shortly afterwards retired from the bench with a pension of £1,200 a year.
Having purchased the manor of Fladbury and other considerable estates in Worcestershire he retired to Perrott House, Pershore, where he died on 28 Jan. 1780, in the seventieth year of his age. A monument was erected to his memory in the parish church at Laleham, Middlesex, in pursuance of directions contained in his widow's will.
His widow Mary died on 7 March 1784, aged 82.

IMAGES 7 and 8 show Perrott House in Pershore, Worcs.

Biographical information from:-
*Stephen L and S Lee, eds. 1917. The Dictionary of National Biography from the Earliest Times to 1900. Volume XV Owens-Pockrich. Oxford University Press, Oxford. P 905.
* the website 'Perrotts of Yorkshire'.

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.
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: 38 x 32 inches inc. frame.
PROVENANCE:Private Collection.
Ref: 8755
This item has been sold





Portrait of 'Micky', 1920, by John Young-Hunter RBA.
Oil on unlined canvas in a good quality gilded frame.
Inscribed 'Micky' and signed and dated 1920 lower left.

A charming portrait of the young girl 'Micky' painted in 1920, utterly evocative of its period and capturing the relaxed innocence of the child. The artist has used his paint in a very bravura fashion, the broad strokes of the clothing and background providing a contrast to the sensitively rendered face.
Young-Hunter expresses a painterly delight in the use of the medium.

JOHN YOUNG-HUNTER (1874-1955) is known for his society portraits of wealthy British and Americans, and for his Native American portraits and genre scenes of the Southwest. Young-Hunter’s work has a bravura quality and his colours are tastefully planned.

John Young-Hunter was born in Glasgow, Scotland to marine painter, Colin Hunter, and pianist, Isabella Young.
He attended Clifton College and the University of London. At the School of the Royal Academy of Arts in London he won Silver Medals and studied under John Singer Sargent, a close family friend. Lawrence Alma-Tadema was another friend of his parents, and much of Young-Hunter's early work is strongly influenced by the Pre-Raphaelites.
His wife, Mary, whom he met through his studies, also worked in the style. Young Hunter exhibited at the Royal Academy from 1900 to 1913 where his paintings received highly favorable reviews. His work also was shown at the Tate Gallery and the Luxembourg Museum in Paris. He was elected RBA in 1914. He lived at Gifford's Hall, Suffolk.

Young-Hunter had been fascinated with American Indians since attending Buffalo Bill's Wild West Show as a youth in London.
He settled in Taos, New Mexico and became a part of the colony of artists around Mabel Dodge Luhan. He died at Taos on 9 August 1955.

SIZE: 57.5 x 39 inches inc. frame.
PROVENANCE: Private Collection, Kent.
Verso: old inventory number 14854.



Ref: 8729
This item has been sold





Portrait of Mrs Christian c1780; Attributed to John Foldsone.
Oil on canvas in reproduction frame.
A charming portrait of this atractive young lady, seemingly lost in thought. She is dressed in the height of fashion of the time, her wig lightly powdered and a silk shawl draped negligently over her arm.

JOHN FOLDSONE (FOLDSTONE) fl.1769-1784. He was a portrait and history painter but only portraits are known.
He enjoyed success from 1769, living in London, in Little Castle Street, and later in Newman Street, but died young in 1784 leaving a wife and children.
He was the father of the miniature painter Mrs. Anne Mee.
Foldsone exhibited at the Society of Artists of Great Britain 1769-70 and the Royal Academy 1771-83. His speciality was small portraits such as this one which he painted at the sitter's home. This portrait, like much of his work, shows the influence of Reynolds and Romney.
His pair of portraits showing Elizabeth Haffey, and her brother, John Burges Haffey, as children, were engraved in mezzotint by Robert Laurie.
Foldsone's work can be seen at the National Trust property Stouhead and at Grimsthorpe Castle.

SIZE: 26 x 22 inches inc. frame.
VERSO: partial old handwritten label "Mrs. Christian, mother of Harriet, afterwards Mrs. Norman Co..."
PROVENANCE: English Private Collection.
Ref: 8626
This item has been sold



 
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