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Our website was last updated on: 10 February 2016
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SOLD....Portrait of a Gentleman c.1720: Circle of Hans Hysing.
Oil on canvas in reproduction giltwood frame of correct type.

This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.

Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."

This a good example of the dignified English portrait of the period.

Hysing was born in Stockholm and was first apprenticed to a goldsmith from 1691-4, and then under David Krafft, Court Painter to King Charles of Sweden.
He settled in London in 1700, where he studied under Michael Dahl, also Swedish, for many years. He was on his own by at least 1715.
Hysing painted the the Queen, the royal princesses, George III as a boy, Sir Robert Walpole and other notables.
Alan Ramsay worked briefly in his studio in 1734.

SIZE: 40.5 x 30.5 inches inc. frame.
PROVENANCE: Yorkshire Private Collection.
Ref: 8700
This item has been sold

SOLD....Portrait of a Gentleman c.1735; Attributed to Jonathan Richardson
A good quality early Georgian oil on canvas in a fine carved and giltwood period frame.

JONATHAN RICHARDSON (1665–1745) sometimes called "the Elder" to distinguish him from his son) was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton. His strength was in portraits of men which were sound, solid, good likenesses, and unpretentious.

SIZE: 36.75 x 32 inches inc. frame.
PROVENANCE: English Collection
Label verso: 'Bartholomew Wilkins and Partners, 1 Barrett Street, London'.

Ref: 8581
This item has been sold

SOLD....Portrait of a Gentleman c.1770; Circle of Joseph Wright of Derby.
Oil on canvas in a late 18th century giltwood frame.

The handsome young man sits pensive, his thoughts far away, probably concerning the letter he holds in his right hand...a letter from his beloved?
The portrait is painted with great sensitivity and demonstrates the chiaroscuro that was a characteristic of Wright.
The typical traits of Wright’s portraiture are apparent – an easy handling of the fall of light that diffuses over the sitter’s face, and along the shoulders of his coat to give the soft appearance almost of pastel – a reminder that Wright was also an accomplished painter in chalks and pastels.

JOSEPH WRIGHT (1734 – 1797), styled Wright of Derby, was an English landscape and portrait painter.
Wright is notable for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on the meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.
Joseph Wright was born in Irongate, Derby. Deciding to become a painter, he went to London in 1751 and for two years studied under Thomas Hudson, the master of Joshua Reynolds. After painting portraits for a while at Derby, Wright again worked as an assistant to Hudson for fifteen months.
In 1753 he returned to and settled in Derby; he also spent a productive period in Liverpool, from 1768 to 1771, painting portraits. These included pictures of a number of prominent citizens and their families.
Wright married Ann (also known as Hannah) Swift on 28 July 1773.
Wright and his wife had six children, three of whom died in infancy. He established himself at Bath as a portrait-painter, but meeting with little encouragement he returned to Derby in 1777, where he spent the rest of his life. Ann Wright died on 17 August 1790. On 29 August 1797 Wright died at his new home at No. 28 Queen Street, Derby, where he had spent his final months with his two daughters.[
Wright was a frequent contributor to the exhibitions of the Society of Artists, and to those of the Royal Academy, of which he was elected an associate in 1781 and a full member in 1784. He, however, declined the latter honour on account of a slight which he believed that he had received, and severed his official connection with the Academy, though he continued to contribute to the exhibitions from 1783 until 1794.

SIZE:37.25 x 32.25 inches inc. frame.
European Private Collection.
Private Collection, London.
Ref: 8771
This item has been sold

SOLD....Portrait of a gentleman of the Pett or Rolt family c.1680; English School.
Oil on canvas in carved and giltwood 17th c. frame.

This charming naive portrait of a young gentleman and a warship poses some intriguing questions.
It dates from the end of the 17th century as is shown by the gentleman's clothing and the style of the stern of the vessel.
Painted on the stern, amongst the carved gilt 'gingerbreading', can be seen the coat of arms of the Rolt family.

The sitter gestures towards a pair of shipbuilder's dividers, a globe in the background.
The Pett family of Kent were famous shipbuilders for centuries and were cousins of the Rolt family of Bedfordshire, who were related to the Orlebars of Hinwick House, Bedfordshire.

This portrait hung for many years at Hinwick, but its true date, sitter and the name of the ship of the line depicted were all lost, and curiously it was said in the Hinwick House guide that the ship was Sir Francis Drake's Golden Hind and that the sitter was Sir Peter Pett, Master Shipwright to Elizabeth I.
There were four families of Petts involved with shipbuilding and sailing.
In the 17th century it was said of the family that they were "so knit together that the Devil himself could not discover them". 'The Command of the Ocean: A Naval History of Britain, 1649-1815' by N.A.M. Rodger.

Could this portrait commemorate the building of a ship of the line by a Pett for a Rolt? The vessel does carry the Rolt arms on its stern and it flies the long red pendant of a private ship of the Red Squadron of the Battle Fleet that was used in the second half of the 17th century, and the sitter points towards shipwright's dividers.

The painting hung at the time the guide was written in the Staircase Hall then, in recent times, on the west wall by the turret door.

VERSO: a fragmentary handwritten label in copperplate script:-

SIZE: 51 25 x 41.5 inches inc. frame.
PROVENANCE: Hinwick House, Bedfordshire.

Ref: 8656
This item has been sold

SOLD....Portrait of a Gentleman of the Popham family c.1700: Attributed to Edward Byng.
Oil on canvas in period carved and part giltwood frame.

The sitter, radiating an air of well fed confidence, wears a large and very expensive wig. The expression 'bigwig' for a rich or important person comes from this fashion.

The first Littlecote House in Wiltshire was built during the 13th century. A medieval mansion, it was inhabited by the de Calstone family from around 1290. When William Darrell married Elizabeth de Calstone in 1415, he inherited the house. His family went on to build the Tudor mansion in the mid-16th century. Henry VIII courted Jane Seymour at the house; her grandmother was Elizabeth Darrell.
Sir John Popham bought the reversion of Littlecote, and succeeded to it in 1589; he built the present Elizabethan brick mansion, which was completed in 1592.
Elizabeth I, James I, Charles II, and William of Orange stayed there, William on his march from Torbay to London in the Glorious Revolution. Popham's descendants, the Pophams and (from 1762) the Leyborne Pophams owned the house until the 1920s. The Leyborne Pophams refurbished much of the house in 1810. They retained it until 1929, when the house was purchased by Sir Ernest Wills, 3rd Baronet.
In 1985 the house was sold to Peter de Savary and the house contents, including this portrait of a Popham gentleman, were sold by Sotheby's at a three day sale.

EDWARD BYNG (c.1676-1753) was a portrait and drapery painter. He was born in Potterne, Wiltshire and died there in 1753. He was assistant and drapery painter to Sir Godfrey Kneller, Court painter, from c.1693 and was chief assistant at the time of Kneller's death in 1723. He was instructed in Kneller's will to complete unfinished portraits.

SIZE: 38 x 33 inches inc. frame.

*By descent in the Popham family.
*Sotheby's sale, The Contents of Littlecote House, Wiltshire, 20-23 November 1985.
*Private Collection.
Ref: 8650
This item has been sold

SOLD....Portrait of a Gentleman of the Weaver family, c.1590-1610, British School.
Oil on canvas. To the left the coat of arms of the Weaver family, dated by the College of Arms as those in use from 1568 to 1635.
To the right, the number 28, almost certainly the age of the sitter.
The portrait sits within a good, distressed, black and gilt 'cassetta' frame.

This charming naďve portrait would have been painted by an itinerant painter moving from town to town. Self taught, they made portraits of the local gentry, and also painted inn signs.
Elizabethan and Jacobean 'primitive' portraits are very rare indeed as few have survived; they have a real directness and sense of period, as well as being highly decorative.

In all Elizabethan portraiture, including that of the Court, the image was always iconic, symbolising power, wealth and lineage and all these factors are present in this limner painting.
The family's heraldry is proudly emblazoned to the left and the sitter's expensive clothing and sword and dagger are shown whilst he holds his gloves in his right hand.
Weapons show that this is a gentleman, legally entitled to bear arms, and the gloves were a very expensive item and very important in Elizabethan upper class society being used as gifts, love tokens and even to issue a challenge.

Naďve though this portrait is the untutored artist has managed to capture a real sense of this young man's strong character; his eyes look directly at the viewer, with just a hint of the poetic melancholy so fashionable at the time.

The WEAVER FAMILY were of Norman extraction; they came to England in 1066 and were in Wales before 1200.
Humphrey Weaver was the first to use the Weaver name in c.1265 in Radnorshire, Wales.
The family were, for centuries, to be found principally in the three counties bordering Wales, viz. Cheshire, Shropshire and Herefordshire, but were also in London.
Their name was taken from the Manor of Weever, near Middlewick, Cheshire, held by the service of providing two fully equipped men-at-arms to help garrison Aldford Castle for forty days in time of war. They had a chapel in the churchyard of Middlewick, of which nothing remains, and the manor was sold in 1720 to the Wilbraham family by the Stanleys of Alderley Park, into whose possession it had come by descent.

A branch of the family moved to America in 1590 – Clement Weaver was settled in Waterton, Massachusetts by 1635.
Thomas Weaver, Attorney General in the Leeward Islands, West Indies became governor of Fort James in the Gambia, Africa where he was killed during a French raid in 1705.
Samuel Weaver became a freeman of the city of New York, April 10 1722.

SIZE: 30 x 24 inches unframed
42 x 36 inches framed

PROVENANCE: By repute, by descent through the family;
Welsh Private Collection since 1999.
Ref: 8533
This item has been sold

SOLD....Portrait of a Girl c.1680; Attributed to Mary Beale.
Oil on canvas in a fine quality carved and giltwood 17th century frame.

The sitter wears an animal pelt draped over her shoulder; this is not a garment she would ever have worn in her everyday life. Its purpose was to suggest the Classical world of Ancient Rome, so fashionable at the time. This was known as "elevating the sitter" and was supposed to confer a timeless quality upon the portrait.
The young lady is depicted within a feigned stone oval, this motif was used so often by Beale as to be almost her trademark. It also was intended to be a Classical reminder.

The leaf carved frame is a particularly good example of its kind.

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.

The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a patent clerk, and also due to the Great Plague of London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio.
She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet.
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.
Mary Beale died in 1699 in Pall Mall, and was buried at St. James's, Piccadilly in London. Her husband died in 1705.

SIZE: 37 x 32 inches inc. frame.
PROVENANCE: Somerset Private Collection.
Ref: 8558
This item has been sold

SOLD....Portrait of a Lady 1601; Circle of Gortzius Geldorp
Oil on panel in 'cassetta' frame.

The portrait is inscribed upper right "Ao Stilo Veteri D. 11.7 bris. ADAMO Aet 23" The inscription translates: "In the year 1601, Old Style, on the 11th day of September, MY TRULY BELOVED aged 23".

(Protestants throughout Europe flatly refused to adopt the new Gregorian calendar introduced by Pope Gregory XIII in 1582; it would still have been a sensitive issue in 1601. The inscription is all early modern Latin rather than Italian and the Protestant sitter, and her husband, wished to stress their relgious identity; hence the use of 'old style' as 'new style' was Catholic.)

The sitter is contained within a feigned stone oval with the spandrels painted as if carved.

This beautiful portrait was painted to commemorate the marriage of this young lady; she proudly holds her right hand in a prominent position so the viewer may admire her large diamond engagement ring and her gold marriage band. (At this time wedding rings were worn on any finger on either hand.) The pearls on the sitter's wrist signify purity and innocence.
Her hairline is fashionably plucked to increase the size of her forehead, this was considered to enhance female beauty.

This painting is an excellent example of the portraits popular with wealthy Dutch burghers.
The sitter is soberly but richly dressed in a cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, richly silver embroidered sleeves, and a long black 'vlieger' overgown. The latter denotes that she is a married woman and was worn with great pride.

Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.

The artist invests the portrait with a joyous dignity, the beautifuly painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex silver stitches which create the patterns on her sleeves.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.

Beautifully moulded by light and colour, this portrait has the lively human presence of a happy young woman that reaches across the four centuries since her marriage.

After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders, they are traditional in style but painted in a smoother manne than portraits by the old Cologne masters.

SIZE: 29 x 21 inches panel size
34.5 x 25.75 inches inc. frame
PROVENANCE: Private Collection, Huntingdon since c.1780.
Verso, pencil inscription 'Breakfast Room. No. 4'
Ref: 8548
This item has been sold

SOLD....Portrait of a Lady 1920s, by Thomas Cantrell Dugdale
Oil on canvas, signed lower right.

There is a theatrical as well as a society air to this beautiful portrait of the 1920s.

Verso is in a more modern label which gives the name of a former owner, Patricia Dunham.

In our portrait the sitter is glamourously attired in cloche hat, elbow length gloves, double string of pearls and fur coat draped over her knee in a style typical of the late 1920s.
This is a superb portrait, painted with all the 'brio' you would expect from Dugdale, yet extremely sensitive in its characterisation of the sitter. This painting is absolutely redolent of its period.

THOMAS CANTRELLE DUGDALE RA (1880-1952) had a flourishing career as a society portrait painter and in the National Portrait Gallery there is his painting of the young actress Wendy Hillier, in strident pose, wearing jodhpurs and open shirt. Recently another of his portraits, of the actress Jessie Matthews is believed to have been purchased by Andrew Lloyd Weber.
Dugdale's work is also in the Tate, Courtauld Istitute of Art, Manchester City Art Gallery and other collections.

SIZE: 41 x 33 inches inc. frame.
*Painted for the Dunham family and in their possession until sold some years ago. In the family it was known as "The Roaring 20's"; the sitter's name seems to be lost.
{information from Martyn Dunham, great great nephew of TC Dugdale.)
*A private collection in an East Anglian Elizabethan country house.

Ref: nrfk6
This item has been sold

SOLD....Portrait of a Lady 1928, by Stephen Makepiece Wiens.
Oil on canvas in slim modern frame. Signed and dated upper right 'S.M. Wiens. 1928'.

Typical of its period with its bold colours of the Jazz Age, the sitter wears her hair in a fashionable Marcel Wave and bob. Her dress is a simple low waisted shift, also the peak of fashion at this time.
She looks pensively into the distance, lost in thought, as if aware the the Roaring 20s were merely an interlude between one world war and another, with the despair of the Great Depression running from 1930 until the outbreak of war in 1939.

Siegfried (Stephen) Makepeace Wiens (1871-1956). Born in London in 1871 of German descent, he changed his name from Siegfried to Stephen. Studied at the Royal Academy Schools 1893-8, winning prizes.
His later years were spent in Worthing, Sussex where he died at the age of 85.
Six of his paintings are in the Worthing Museum and Art Gallery, and more in the Tate, London, and Brighton Art Gallery.

WIEN'S ADRESSES: 19 Honor Oak Road, Forest Hill, London SE 1, 1901 - 1916.
(Listed at other addresses as well between these dates.)
42 Addison Road, Hove, Brighton. 1928 - 1935.
Bergamo, The Glen, Worthing, Sussex. 1937 - 1945.

Exhibited at The Eighty-Fifth Autumn Exhibition at the Rooms of the Society, New Street (Royal Birmingham Society of Artists), 1911-1912.

Exhibited at The Exhibition of the Royal Academy of Arts (Summer Exhibition), 1893 - 1945.
(Exhibited 20 times, 23 works in all.)

Exhibited at Festival of Britain, London: 'Ten Decades, a Review of British Taste, 1851-1951'.
(Wien's 'Girl and Lizard' was lent by the Tate Gallery.)

SIZE: Canvas 40 x 30 inches.
PROVENANCE: Sussex Private Collection.
Ref: 8692
This item has been sold

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