home   ●  about us   ●  latest stock  ●  view all   ●  delivery   ●  testimonials   ●  contact us  
Our website was last updated on: 17 September 2014
first   «   10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19   »  last

SOLD....Portrait of a Young Midshipman c.1790; Circle of Lewis Vaslet.
Oil on canvas in Georgian giltwood frame.

A charming small scale portrait of a young midshipman in the Royal Navy at the end of the 18th century, probably painted for the boy's parents before he joined his ship.
England was engaged in a long and bloody war with France and the navy was our first line of defence.
The life of a midshipman on a man-of-war could be very short indeed. As an apprentice officer the youth was expected to be able to climb the riggiing to act as a lookout, learn navigation and seamanship, command one of the ship's boats and in action he would command a group of the ship's guns, or take charge of signals or act as a messenger for the captain.
A lot of responsibility and risk at a very young age, but if he lived and rose through merit he could achieve high rank.
The good-looking sitter, sensitively painted, looks out at the viewer, his pensive gaze encouraging thoughts of his extreme youth and vulnerability on active service at sea, but the boy also projects an air of quiet determination and confidence.

LEWIS VASLET (VASLETTE) 1742-1808. Born in York, he became a lieutenant in the 25th Regiment of Foot. Leaving the army, he travelled to Italy. He exhibited ten times at the Royal Academy between 1770 and 1782. He worked from York in 1770, 1771 and 1778, Bath 1787, Norwich 1793 and Oxford1780, 1790 and 1796 where he advertised himself as an 'artist in miniature and likenesses' working in oils and pastels. He married a lady of means. Buried at St. Michael's, Bath in 1808.
"His style is usually accomplished, charmingly naive with pleasantly subdued colouring" (The Dictionary of Portrait Painters in Britain).

SIZE: 11 x 9 inches inc. frame.
PROVENANCE: Somerset Private Collection
Ref: 8559
This item has been sold

SOLD....Portrait of a Young Nobleman c.1630; Studio or Circle of Daniel Mytens.
Oil on canvas in carved and giltwood frame.

This is a fine portrait of a young aristocrat painted in the typical swagger pose favoured by Mytens for his noble sitters (v. his portraits of Richard Rich, Earl of Warwick, King Charles I, and William Knollys, Earl of Banbury among others).
Yet despite the aristocratic posture the artist manages to sensitively convey a sense of a slight insecurity in the boy as he is painted, perhaps for the first time, as a man.
His identity is, as yet, unknown, but his expensive and fashionable clothes are of the Court.

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt.

By 1618, he had moved to London where his initial patron was the leading art collector Thomas Howard, 21st Earl of Arundel. Mytens painted the Earl and his Countess, and was soon commissioned to paint King James I and his son Charles, Prince of Wales. In 1625 he became painter to King Charles I.

After the prince's accession to the throne as Charles I in 1625 Mytens produced such a large number of full length portraits of Charles I and his courtiers, including duplicates, that it is assumed that he had workshop assistance. Mytens made visits to the Netherlands in 1626 and 1630, perhaps to study the latest developments in his field, more particularly the works of Rubens and Van Dyck.

Mytens introduced a new naturalism into the English court portrait, but after the arrival in England of Anthony Van Dyck in 1632 he was superseded as the leading court portraitist, and around 1634 he appears to have returned to the Netherlands permanently.
Some of Mytens' works are still owned by the Royal Family.

SIZE: 51 x 42 inches inc. replica frame.

with the Simon Carter Gallery in 1990;
London Collection of Severin Wunderman.

SEVERIN WUNDERMAN Born Brussels, 1938.
Died Nice, 2008.A child Holocaust survivor he built up a multi-million pound business in luxury watches and became a major art collector and philanthropist. In the 1970s he set up watch production for Gucci, which he ran and controlled for over 25 years until Gucci Timepieces was bought back by the family in 1998.

Diagnosed with inoperable lung cancer in the 1990s, he promised the specialist, who was reluctant to treat him, $5 million a year in research funding for every year he survived.
This resulted in the Severin Wunderman Family Foundation for research into incurable illnesses. He eventually died from a stroke.
He was a board member of Steven Spielberg's Shoah Foundation and received the Légion d'Honneur in 2005.

This portrait hung in the hall of his London house until his death. Wunderman also owned a French Chateau in the Cote d`Azur and a penthouse in Los Angeles.
Ref: 8531
This item has been sold

SOLD....Portrait of a Young Nobleman c.1635; Attributed to Gilbert Jackson.
Oil on canvas in gilded frame.

The unknown young aristocrat, in what seems to be Court dress, wears an absolute fortune in clothing; sumptuous silk, satin and lace decorated with fine embroidery, even the inside of his cloak is richly ornamented.
In his left hand he holds his fashionable hat and in his right a document which seems to have some form of plan drawn on it...posible referring to the event this portrait was painted to commemorate.

GILBERT JACKSON (active 1621-1640) was an itinerant portrait painter who seems to have worked in North wales in the 1630s. He also had an academic clientele in Cambridge and Oxford.
Jackson was made a Freeman of the Painter-Stainers Company, London in 1640.
His work, like this one, tends to be highly finished, with an eye for detail and although it follows in the manner of Cornelius Johnson it retains a charmingly naive quality.

SIZE: 45.5 x 38 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
Ref: 8732
This item has been sold

SOLD....Portrait of a Young Woman as Selene, Goddess of the Moon c.1910; by Mela Muller
Oil on canvas in modern giltwood frame, signed, bottom right, 'MULLER MELA.'

This exquisite portrait of a beautiful young woman depicts her as Selene, the Moon Goddess.

Shown in profile, with closed eyes, the sitter conveys a feeling of tranquility and an intriguing sense of both the erotic and the innocent.
Moonstones in her hair represent the stars, the gleaming robe of the Milky Way is around her and she holds a corn plant... vitally important as a constituent of bread - the staff of life. Corn also symbolised plenty.

In Greek mythology Selene was the daughter of Hyperion and Theia, the sister of Helios the Sun God and Eos the Dawn.
Selene, "the eternally beautiful", is one of the triple goddesses of the Moon: Artemis - the waxing moon, Selene - the full moon, and Hecate - the waning moon.

Selene is the mother goddess...a symbol of womanhood, and is represented by the full moon, where she is at the height of her reproductive potential.
Known to the Romans as Luna, she is responsible for the germination of seeds and new crops.
The days of the full and new moon were set aside for her worship.
The calenders and rituals of her worship helped people to measure time to know when it was best for planting and harvesting.

Appropriately for a goddess who represents the life force she was known for her many love affairs.
The moonstone is her gem and her colour is silver, grey white.

MELA (MELANIE) MULLER was born in Budapest in 1879 and died in 1933.
At the present there is little information available on this talented Hungarian painter and her works seem to be very rare.

SIZE: 33 x 29.5 inches inc. frame.
*Sold Sotheby's, lot 144, 4 May 1988.
*Hampshire Private Collection.

Ref: 8679
This item has been sold

SOLD....Portrait of Admiral Richard Lestock c 1740, attributed to John Wollaston.
Oil on canvas in a good late 18th c. giltwood frame.
Lestock looks confidentally out at the viewer, in the background, close to a shore fort, two ships-of-the-line engage in battle.
A similar,later, image of Lestock just before his death in 1746 is in Tha National Maritime Museum. This is an engraving after a portrait by Wollaston.

RICHARD LESTOCK 1679-1746 was an officer in the Royal Navy, eventually rising to the rank of Admiral. He fought in a number of battles, and was a controversial figure, most remembered for his part in the defeat at the Battle of Toulon, and the subsequent court-martial, at which he was acquitted.
On 3 June 1746, just two days after his acquittal he was promoted Admiral of the Blue and given command of a large squadron. The original plan called for the launching of an assault on Quebec, but an attack on the French port of Lorient was decided instead. Despite planning difficulties, the force was landed and nearly succeeded in taking the city. The result was ultimately a failure and was viewed as such by a disappointed public, but Lestock appears to have acquitted himself well. After the success of the operation, he hoped to receive an appointment to command a spring expedition to North America, but his health suddenly declined, and he died of a stomach ailment on 13 December 1746.

HMS Vulture
HMS Fowey
HMS Weymouth
HMS Panther
HMS Princess Amelia
HMS Royal Oak
HMS Kingston
HMS Somerset
HMS Grafton
HMS Boyne
HMS Neptune

Battle of Vélez-Málaga
Battle of Toulon (1707)
Battle of Cape Passaro
Battle of Cartagena de Indias
Battle of Toulon (1744)

JOHN WOLLASTON (active 1738-1775) was the son of a London portrait painter, also called John.
Wollaston worked in England until 1749 when he left for America, where he had considerable influence. He worked in New York 1749=52, Maryland 1753-4, Virginia c.1755-7 and Philadelphia 1758.
He moved to the west Indies in c.1758; in St. Kitts1764/5, Charleston 1767 and returned to England in 1767.

SIZE:48 x 41.25 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
Verso: old pencil inscription "Heirloom Harewood".
Ref: 8731
This item has been sold

SOLD....Portrait of an Officer 1917, by Leon Sprinck
Oil on canvas in gilt frame. Signed and dated 'Leon Sprinck 1917', lower right.

A good and insightful portrait of a British army captain painted during World War One; in 1917 the war had a year to run.
The sitter wears the red hatband and tabs of an officer of the General Staff but, to judge by his decorations he had seen action, as amongst their number is the D.S.O.
(The Distinguished Service Order was awarded for meritorious or distinguished service by officers of the armed forces during wartime, usually in actual combat. It is typically awarded to officers ranked Major (or its equivalent) or higher, but the honour has sometimes been awarded to especially valorous junior officers. 8,981 DSOs were awarded during the First World War, each award being announced in the London Gazette.)

The identity of the young officer is unknown as is whether he survived the Great War.

LEON SPRINCK was a fashionable artist of Russian stock, he painted many aristocrats and members of the gentry. In the late 19th and early 20th centuries he exhibited at the Royal Academy, London, the Royal Hibernian Academy and the Walker Art Gallery, Liverpool. He lived at Portland Place in London.

SIZE: 39 x 34 inches inc. frame.
PROVENANCE: Collection of a retired army officer, Westmoreland country house.
Verso; old storage label " A & N.C.S.L. No.25. Mrs. Wickham April 1972".
Ref: 8609
This item has been sold

SOLD....Portrait of Anna Maria, Baroness Dacre c.1740; Circle of Van Loo
Oil on canvas in a Late Georgian Neo-Classical gilt frame.

This portrait of the Baroness shows her in the State robes of a peeress and was probably painted on the occasion of her marriage.
ANNA MARIA PRATT was born before 1724 and died in 1806. She was the daughter of Sir John Pratt, Lord Chief Justice of the King's Bench, and Elizabeth Wilson; she was the sister of Charles, 1st Earl Camden.
Anna Maria married Thomas Barratt-Lennard, 17th Baron Dacre in London in 1739. They had one child, the Honourable Ann Barbara, who died aged nine.

Lord Dacre had a son out of marriage by Elizabeth FitzThomas; Thomas, later 1st Baronet, was born in 1762 and was brought up by Lord and Lady Dacre and treated as if he had been the legitimate offspring of their marriage. Anna Maria acted as a mother, and as an exceptionally good mother too. Knowing she could have no more children, she connived at this intrigue for her husband's sake as he was anxious to have a son to whom he might leave the family estates.
The boy was given the education and upbringing that would prepare him to assume the rank and status of the Barrett Lennard family. Lord Dacre died in 1786 and in his will he asked his wife to 'take upon herself the guardianship of his child, who he directed was to assume the names of Barrett and Lennard and the arms and crests belonging to those families'. This she did.

JEAN-BAPTISTE VAN LOO (1694 - 1745) was born in Aix-en-Provence; he worked in the south of France, Turin, Rome and Paris.
He came to England in 1737 where he became immensely successful and fashionable, much to the annoyance of the native born English portraitists.
His Continental style was considered smart and his manners and manner appealed to the upper classes.

SIZE: 38 x 32.5 inches inc. frame.

PROVENANCE: From the Estate of Brigadier Sir Edward Ford KCB, GCVO [1910-2006] (Asst. Private Secretary to King George VI 1946-52)

According to family tradition, sold from Mrs. Fitzherbert's house near the Royal Pavilion, Brighton, c.1840, where it was acquired by the great-great-great-grandfather of the previous owner (as the sitter was a family member) and thence by descent to Henry Robert, 2nd Viscount Hampden and 24th Baron Dacre, then to his son Robert Brand, 1st Baron Brand, then to his daughter the Hon. Virginia Brand, wife of Sir Edward Ford.

NOTE: Maria Anne Fitzherbert, née Smythe (26 July 1756 – 27 March 1837), married the Prince Regent, future King George IV, in a secret ceremony, and was his companion for a large part of his adult life. However the marriage was invalid under English laws concerning royal marriages and she never became Queen or acquired any other title. For political reasons George was made to marry Caroline of Brunswick; it was an unhappy marriage.

Ref: 8247
This item has been sold

SOLD....Portrait of Capt. Charles Beague St.John Mildmay c.1885; English School.
Oil on canvas in excellent gilded period frame.
This portrait comes with his sword, shown in the painting, and three framed photographs of the sitter in later life.

This is a fine military portrait by an artist as yet unknown, although the influence of Sir Francis Grant P.R.A. can be seen.
Captain St.John Mildmay wears dress uniform, which is still worn by The Royal Horse Artillery on state occasions.

CHARLES BEAGUE ST.JOHN MILDMAY (1861-1923) was the oldest surviving son of Arthur George St.John Mildmay (1824-1883) and his wife Charlotte (nee Beague).
The St.John, Mildmay and Beague families were all old ones, with a history of service to the country...military and political.
Charles married a kinswoman, Evelyn Augusta St.John Mildmay in 1892. She was the daughter of Capt. Edmund Henry St.John Mildmay, late of the 5th Radetzky Hussars in the Austrian Imperial Service; he became Equerry to H.R.H. the Duke of Cambridge.
Charles and Evelyn had two daughters, Dorothy and Letitia.
Charles served with the Royal Artillery, the Royal Horse Artillery and the 4th Bttn. of the Somerset Light Infantry. He saw service in the Boer War 1900-01, becoming a major (Hon) in 1908, presumably upon his retirement.

The photographs (see Image 4) show him wearing a campaign medal, probably from the Boer War.
Also in Image 4 can be seen his sword; an 1821 pattern Artillery officers sword by Wilkinson of Pall Mall, London.
Numbered 23530, the sword was made c.1880 which would have been when Mildmay was a lieutenant.
The blade bears the Royal Coat of Arms for Queen Victoria over the Royal Artillery motto 'Ubique'. On the other side there are winged thunderbolts, Royal Artillery, scrolling foliage and two heraldic crests...the lion of Mildmay and the falcon of St. John.
It is often forgotten that officers of the artillery were 'front line' troops through the Victorian period, as the science of indirect fire (engaging targets out of direct line of sight) was only really developed in World War I. Thus an officer's sword was far more than a dress piece, and could on occasion be called upon to save his life.

SIZE: 64 x 42 inches inc. frame.
PROVENANCE: by descent in the St.John Mildmay family formerly of Hollam House, Dulverton, Somerset. The St.John Mildmays owned Hollam for hundreds of years, Sir Walter St.John Mildmay was the last to live there in the 1990s. (Image 5)
Ref: 8694
This item has been sold

SOLD....Portrait of Captain Stewart 1814; by Thomas Phillips R.A.
Oil on canvas in ornate frame.

The subject of this Late Georgian/Regency portrait is thought to be Daniel Stewart (Stuart), brother of Elizabeth Stewart, Mrs. Westmacott (portrait also on this website).
But there were four brothers in the army...Daniel, John, Charles and Thomas ...a lieutenant, a captain and two majors; however this portrait has decended directly through the family and is known as Daniel.
The handwritten label verso says the sitter was a captain in the 24th Dragoons, but the dragoons wore blue uniforms and this officer wears a red tunic with the yellow facings of a Scottish regiment. Of course, the officer may have changed regiments at some time but clearly more research is needed to identify the sitter beyond doubt.
In August 1822 two of the Stewart brothers died in India, both in the Honourable East India Company, Bombay; Major John Stewart died of a liver complaint aged 43, and Captain John Guise Stewart died of a wound in the head aged 38,"both brothers of Mrs. H. Westmacott of Cadogan-place". Reported in 'The Gentleman's Magazine' Volume 92, "Obituary of Remarkable Persons" and "Blackwood's Magazine" Volume 11.

The parents of the sitter were Thomas Stewart, Town Clerk of Montrose and Elizabeth Guise, born in Gibraltar in 1755.

The National Portrait Gallery has Thomas Phillip's sitter's book in which this portrait and that of his sister Elizabeth Stewart are included.

THOMAS PHILLIPS R.A. (1770-1845) was a leading English portrait painter. He painted many of the important and wealthy of the day including scientists, artists, writers, poets and explorers.
He was elected ARA 1804, RA in 1808, becoming Royal Academy Professor of Painting in 1825.
Phillips was a contemporary of Lawrence and offered a more subdued style based on his study of Old Masters. "His best works are full of character and show him to be in the top rank of portrait painters" (The Dictionary of Portrait Painters in Britain up to 1920.)

SIZE: 40.5 x 35.75 inches inc. frame
30 x 25 inches canvas size.
PROVENANCE: By family descent.
Deceased Estate, Dorset.
VERSO: handwritten label identifying the sitter.
Ref: 8628
This item has been sold

SOLD....Portrait of Catherine Sedley, Countess of Dorchester (?) c.1690, by John Closterman
Oil on canvas in Lely pattern gilt frame.

An extremely high quality portrait thought to be of Catherine Sedley; the sitter bears a very strong resemblance to a portrait of 1685 by Kneller at Kedleston Hall. (See Plate 96 'Painted Ladies. Women at the Court of Charles ll'. Published by the National Portrait Gallery).
As was the fashion the sitter is shown wearing her most informal garments, known as 'undress' yet she wears a diamond brooch and holds what seems to be a diamond necklace. (Until the 19th c. all diamonds were flat or table cut and thus appear as black gems in portraiture). One can only presume there was some significance in their depiction...perhaps relating to her engagement or marriage which occurred around this time.

CATHERINE SEDLEY, Countess of Dorchester, Countess of Portmore (c. 1657 – 26 October 1717), daughter of Sir Charles Sedley, 5th Baronet, was the mistress of King James II both before and after he came to the throne.

She was created Countess of Dorchester for life in 1686, an elevation which aroused much indignation and compelled Catherine to reside for a time in Ireland. In 1696 she married Sir David Colyear, Bt., who was created Earl of Portmore in 1703, and she was thus the mother of Charles Colyear, 2nd Earl of Portmore. She died at Bath on 26 October 1717, when her life peerage became extinct.

By James II, Lady Dorchester had a daughter Lady Catherine Darnley (d. 1743), who married James Annesley, 3rd Earl of Anglesey, and after his death married John Sheffield, 1st Duke of Buckingham and Normanby. Through Catherine, her daughter by her first husband, she was the ancestress of the Barons Mulgrave and of the Mitford sisters.

JOHN CLOSTERMAN (1660-1711), born in Osnabruck, settled in London in !681. He worked with John Riley until the latter's death in 1691.
By the 1690s Closterman was rediscovering earlier influences, especially the extravagant, textural, French manner he learned in Paris under François de Troy. He was adept at fashionable baroque poses, with rather showily painted draperies.
Closterman’s sense of theatre and his mastery of colour explains his appeal to a broad clientele, from nobles like the Dukes of Somerset and Marlborough to Sir Christopher Wren and Henry Purcell, the geniuses of the age.

SIZE: 58 x 47.75 inches inc. frame.
PROVENANCE: Private Berkshire Collection for many years
Ref: 8492
This item has been sold

first   «   10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19   »  last