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Our website was last updated on: 25 November 2014
 
SOLD ITEMS
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SOLD....Portrait of a Young Girl c.1680; attributed to Mary Beale
Oil on canvas in reproduction parcel gilt 'cassetta' frame.

The attractive young sitter is depicted as a shepherdess in the mythical realm of Arcady (or Arcadia), a fashionable conceit of the times which also featured in the literature and poetry of the period.
The girl holds a shepherd's crook of the Continental type; real shepherds would use the shaped end to scoop up and throw small stones to send the sheep in a chosen direction.

The influence of the style of Sir Peter Lely, Mary's mentor and friend, is clearly seen.

MARY BEALE (1633 - 1699). Born Mary Cradock in Suffolk where her father was rector of Barrow church. She married Charles Beale in 1651/2.
At a time when a female professional artist was a rare thing Mary quickly built up a successful business painting mainly the middle classes.
Known as a painter from 1654, her later work was strongly influenced by Sir Peter Lely, Painter to the King and immensely fashionable.
Mary's most active period was in the 1670s and 80s. In many, but not all, of her bust portraits she affects a feigned stone oval surround.

SIZE: framed 30 x 24.25 inches
canvas size 23.75 x 17 75 inches.

PROVENANCE: London Private Collection.
Verso, a framer's label 'Sebastian d'Orsai (A.B.) Ltd.'
Ref: 8453
This item has been sold





SOLD....Portrait of a Young Girl c.1700; Circle of Robert Byng
Oil on canvas in a 19th c. gilt frame of 17th c. 'cassetta' type.

A charming portrait of a pretty young girl by a member of the Circle of Robert Byng.

The sitter is holding a variegated tulip, which, in the Language of Flowers, symbolises 'beautiful eyes'; the large rose, of course, is the symbol of love.
The basket of flowers together also represent the beauty and fleeting quality of youth.

The girl wears a Classical robe, to her right a draped curtain and to her left the landscape of Arcadia...the mythical world so fashionable at the time.

This artist, strongly influenced by Byng's noted portraits of children, lacks the technical sophistication of his master, especially in the stylised treatment of the drapery.
However there is a strong sense of a painterly delight in using the medium - especially in some of the impasto in the drapery which contrasts pleasingly with the gently painted face.
The painting has a strong appeal and is an endearing image of an attractive young girl.

Robert Byng (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of,and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 44 x 33.5 inches inc. frame
PROVENANCE: a Private London Collection.

Verso: an old label of Francis Draper of Albany Street, London. 'Restorer and Preserver of Paintings in London and the Country'. By appointment to his Majesty the King; then follows a list of noted clients including the National Portrait Gallery and members of the Royal Family.

Ref: 8401
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SOLD....Portrait of a Young Girl c.1775 - 1790; English School.
Oil on canvas in gilt frame.

An extremely attractive naive Georgian portrait of a young girl in the countryside.
There is a sense of peace to the painting; the youthful sitter looks confidentally out at the viewer. Her hat, to protect her fair complexion and avoid any unsightly browning of the skin, lies abandoned on the ground. She wears the red shoes so fashionable at this time.

The child has a pet robin on a string perched on her hand whilst another, on a twig, looks across.
Birds, at this time, were common pets and playthings but, depicted in a portrait, they also had other meanings.
A free bird, which could easily fly away, was used as a symbol of the transience of life but a tethered one represented the desire for longer life for the child. Even children from rich families had a high mortality rate.

The identity of the provincial artist is unknown although he was clearly influenced by the fashionable artists of the day. Naive the portrait may be, but it has great charm and a direct quality sometimes lacking in more sophisticated works.

SIZE: 43 x 31 inches inc. frame.
PROVENANCE: English Private Collection.

Ref: 8680
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SOLD....Portrait of a Young Girl c.1775; Attributed to Katherine Read
Oil on canvas in an elaborate giltwood frame.

This is a very appealing portrait of a lovely little girl dating from c.1775.

KATHERINE READ (1723-1778) was a fashionable portrait painter who worked mainly in crayons, but occasionally in oils.
Born in Forfarshire, Scotland in 1723, she was painting portraits by 1745. She studied in Paris and Rome, settling in London in 1754, she became a very fashionable portraitist and was favoured with the patronage of Queen Charlotte in 1761. Exhibited widely, most notably at the Royal Academy.
She went to India in 1777, but returning in 1778 she became ill and died at sea.
She was especially successful with children's portraits; her oil portraits show the influence of Reynolds.

SIZE: framed, 17 x 15 inches
canvas, 11 x 9 inches

PROVENANCE:
By descent through a Wiltshire family.
Verso: a handwritten label:
"Girl unknown. Possibly painted by ---- Reed (sic), woman. Present from Ronald Storrs to his wife Lily (Littleton-Clowes) c.1940. Then to Daisy Templeton, c.1965, daughter of Lily (Clowes), then to her daughter Margaret Ziegler 1987."



Ref: 8540
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SOLD....Portrait of a Young Girl with her Pets c.1810; Studio or Circle of William Owen R.A.
Oil on canvas in giltwood frame.

An utterly enchanting portrait of a little girl, about three years old, offering a savoury treat to her dog, unaware that her parrot has opened the door of its cage and has designs on the larger piece she holds behind her back.

This a superb evocation of a late Georgian childhood with an amusing twist.


WILLIAM OWEN RA, (born Ludlow, 1769; died in London, 11 March 1825) was the son of a bookseller, he was educated at the grammar school in Ludlow and was sent to London in 1786 to study under Charles Catton the elder (1728-98), coach painter to George III and founder-member of the Royal Academy.

Owen's copy of a work by Reynolds, made soon after his arrival, attracted the latter's attention. He entered the Royal Academy Schools in 1791 and exhibited at the Royal Academy the following year. From then on he exhibited there every year, apart from 1823 and 1825, and was elected ARA in 1804 and RA in 1806.
He painted a number of rural scenes but specialized in portrait painting. Although his reputation was eclipsed by that of Thomas Lawrence, he was sought after by many of the eminent figures of the day, producing portraits of the Archbishop of Canterbury, Dr William Howley (1813), and of the politician and essayist John Wilson Croker (exh. 1812; both London, N.P.G.); other of his sitters were William Pitt the younger and John Soane.
He was particularly good at portraying children and elderly sitters.
In 1810 he was appointed Portrait Painter to the Prince of Wales (later George IV) and in 1813 Principal Portrait Painter to the Prince when the latter became Prince Regent. The Prince Regent does not seem to have sat to him but nonetheless he offered Owen a knighthood, which the painter refused.
At this time his income was 3000 a year...an enormous sum.
From c. 1820 Owen's health deteriorated until a disease of the spine confined him to his room and finally rendered him incapable of painting. He died after accidentally taking a bottle of opium that had been wrongly labelled by a chemist's assistant. After his death many of his portraits were finished by Edward Daniel Leahy.

SIZE:50 5 x 30 25 inches inc. frame.
PROVENANCE: Dorset Private Collection.


Ref: 8698
This item has been sold





SOLD....Portrait of a Young Lady (Hon Catherine Alington ?) with a Parrot c.1695; Circle of Kneller
Oil on canvas in a carved and giltwood frame.

A pleasing three-quarter length portrait of a fashionable young lady with a parrot on her hand.
At this period a parrot, a rare and colourful bird from distant lands, symbolised the exotic and the expensive.
There may also be a reference to the source of the family's wealth; from these distant lands came slaves, sugar, rum and mahogany...often creating vast fortunes; many fine mansions in great estates were built on these trades.

Inscribed on one of the stretchers, in an old script, is the name 'Alington', sugesting that the sitter is a member of the ancient family of Alington of Horseheath, Cambs and Wymondeley, Herts.
(The forebear of this family having been the
Under Marshal to William the Conqueror at the Battle of Hastings in 1066).

If this so, the most likely candidate is the Hon. Catherine Alington, daughter of William, 3rd Baron Alington of Killard, 1st Lord Alington of Wymondeley and Lady Diana Russell, daughter of the 1st Duke of Bedford.
Born in 1677, Catherine married, in 1694, Sir Nathaniel Napier 3rd Baronet of More Crichel. Their daughter Diana eventually became sole heiress of the Alingtons and Napiers and was ancestress of the later Lords Alington (of a new creation).
Catherine, Lady Napier died in 1724.

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.
His style had a profound influence on British portraiture and a large number of artists, some very talented in their own right, emulated his fashionable style.

SIZE: 43 x 36 inches inc. frame.

PROVENANCE: A Suffolk Collection.
Verso: inscription 'Alington', and the words 'Left Hand - East Hall Door'.
Ref: 8409
This item has been sold





SOLD....Portrait of a Young Lady as Diana the Huntress c.1635; Circle of Jan Mytens
Oil on panel in 18th c. gilt frame.

The young sitter is depicted in an open landscape.
This beautifully executed portrait captures the shimmering quality of the sitter's garments...the silk, fine linen and delicate gauze all compliment the delicacy with which the girl's face is painted.

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 in one hand and an arrow in the other.
The celestial character of Diana is reflected in her connection with light, inaccessibility, purity and virginity; all desirable attributes for a girl who was on the marriage market.


JAN MYTENS (1614-1670) worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.

MIJTENS (MEYTENS, MYTENS):
Dutch family of painters of Flemish origin. The earliest known artist of this family was Aert Mijtens (1541-1602), a history and portrait painter who worked in Naples and Rome. His brother Martin Mijtens, a saddle and coach-maker, fled to the northern Netherlands and had two sons who also became painters: Daniel Mijtens I, who was prominent in England for a period as a portrait painter in the Stuart court, and Isaac Mijtens (c. 1602-1666), a portrait painter in The Hague. Jan Mijtens was a nephew of these brothers and father of the portrait painter Daniel Mijtens II (1644-1688). Martin Mijtens I, himself a son of Isaac, moved to Sweden where he worked as a portrait painter in Stockholm, while his son Martin van Meytens II later became a portrait painter at the imperial court in Vienna. Several other minor members of the Mijtens family established reputations as painters.


SIZE: 24 x 20.5 inches inc. frame.
17 x 13 inches panel size.
PROVENANCE: English Private Collection.
VERSO: old label for Reeves and Son, Kensington, Picture Frame Makers.
Ref: 8644
This item has been sold





SOLD....Portrait of a Young Lady c.1690-1700: By Charles D'Agar.
Oil on canvas in a a period giltwood frame.

The young woman, little more than a girl, stands as if on the terrace of a large country house; she holds a basket of flowers signifying her youth, beauty and its transience.
An elegant and fashionable silk shoe peeps out from under her skirt; the way the flowing robes are shown suggests a feeling of movement as if the sitter has just walked in and paused for a moment.

The sitter's identity is not known, but, tantalisingly, on the frame a fragment of handwritten label survives
"....ell of Lanherne.....ed......7th Baron".
The most notable family in Lanherne, Cornwall were the Arundells, an ancient and noble family. Might this label have once read ".......Arundell of Lanherne married ......7th Baron"?

D'Agar's manner is directly comparable in style to Michael Dahl, whose treatment of portraits of children in particular is similar. The size, c. 60 x 40 inches would seem to have been a standard dimension for Dagar's child full-lengths - and they often employ the same staging device, whereby the sitter is placed on a terrace, a landscape beyond. This portrait also employs D'Agar's trick of trailing drapery just cropped by the edge of the canvas.

CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.

SIZE:69 x 47 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
VERSO: old label for Chapman Bros. of Kings Road, Chelsea.
Damaged handwritten label (details above).
Ref: 8733
This item has been sold





SOLD....Portrait of a Young Lady c.1695; Attributed to John Closterman.
Oil on canvas mounted on board in gilt frame.

A superb quality portrait of a young lady; she wears none of the fashionable Baroque accessories...pearl necklaces or ear pendants...instead she is depicted in her natural unadorned beauty.
At a time when many portraits were produced, a large number of them depicted the sitters in a sterotypical, stylised manner. That is not the case here; this is a remarkably sensitive and extremely talented painting.

The portrait has, at some time in the past, been reduced in size. However, this has not had an adverse effect on the image; on the contrary, as the young woman now fills her space within the frame it is as if she has moved closer to the viewer, creating a strong feeling of intimacy.

This portrait can be dated roughly to the turn of the eighteenth century, a period which corresponds with Closterman's most prolific period in England.
Closterman is notable for having contributed a Baroque richness to his depictions of the seventeenth century English face and this sensitive work must be amongst his most successful portraits of a woman.

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.His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
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 with his wife Hannah.

An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of 'Master of the Baroque Portrait'.

SIZE: 22.5 x 16 inches inc. frame.
PROVENANCE: Staffordshire Private Collection.

Ref: 8611
This item has been sold





SOLD....Portrait of a Young Lady c.1730; Attributed to Joseph Highmore
Oil on canvas in early 19th c. gilt frame.

This fine portait of a young woman has a real Baroque swagger to it; the lady seems almost to be moving across the canvas, her silken robe billowing behind her.
The material of her gown and robe have the expensive-looking rather metallic sheen associated with Highmore's treatment of material.
The sitter looks directly at the viewer with confidence and candour.
The veins of her left hand can be seen faintly shown in blue; at this period, and earlier, for a woman to have a semi-translucent skin and bue veins showing was considered very attractive and well bred...hence the expression 'blue-blood' for members of the aristocracy.

JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.

Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.
By the 1730s his style had become more polished and sophisticated.

Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.
Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.

SIZE:45 x 36.75 inches inc. frame.
PROVENANCE: Private Collection, Southern England.
Ref: 8604
This item has been sold



 
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