home   ●  latest stock  ●  view all   ●  delivery   ●  testimonials   ●  contact us  
Our website was last updated on: 24 October 2016
first   «   10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19   »  last

Portrait of Thomas Wright 1739: by John Theodore Heins.
Oil on canvas in a fine quality carved and giltwood frame.

In 1949 Christie's stated that the portrait was signed and dated 1739, lower left, and in the entries in the two reference books mentioned below the same statement is made, and again stated in an old handwritten label verso. However, now only some faint marks can be seen.

This excellent portrait is typical of the best work of Heins. The sitter, Thomas Wright of Wighton, Norfolk, looks confidently out at the viewer, his tricorne hat held as if just removed to courteously greet us....the very model of a fashionably and expensively dressed gentleman of the early Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. Even so, Thomas has taken care to sweep back his coat to display the large quantities of silver lace on his silk waistcoat. His silver hilted sword, the mark of a gentleman, is also on discreet display.

Thomas married Anne, the daughter of the Reverend William Wilson, Rector of Stiffkey. Their daughter Anne married Captain Thomas Lee Warner of Walsingham.
Thomas Wright died in 1762, 23 years after Heins painted this portrait. His death was announced in 'The London Magazine, or, Gentleman's Monthly Intellegencer'.

JOHN THEODORE HEINS (1697-1756), also known as Dietrich or Dirk, was born in Germany. He settled in Norwich (at that time a city second in importance only to London) in 1720.
He made a good living painting the local prosperous merchants and gentry and was accepted into their social circle. His style was influenced by that of Thomas Hudson.
Many of his finer works were commissioned by the Astley family of Melton Constable.
Heins died in Norich and his will was proved 30 August 1756 by his widow, Abigail.
His son, also called John Theodore Heins was also a portraitist but lacked his father's talent.
Heins senior's work is in Norwich Castle Museum, Felbrigg Hall (National Trust), the National Portrait Gallery, Cambridge University and others.

SIZE: canvas 50 x 40 inches.

PROVENANCE: *Sold: Christie's, London 7 October 1949.
*The Collection of a Titled Lady, East Sussex.
*Collection of a Fellow of a Cambridge college.

*A photograph of this portrait appears on page 167 of 'The Dictionary of British 18th Century Painters' by Ellis Waterhouse, and also on page 242 of 'The Dictionary of Portrait Painters in Britain up to 1920' by Brian Stewart and Mervyn Cutten. See Image 5.

VERSO: old handwritten label: "Thomas Wright, Wighton, Norfolk. M. Anne dau. of Revd. Wm. Wilson, Rector of Stiffkey. Their daughter Anne married Capt. Thomas Lee Warner of Walsingham.
by Heins. signed."
Ref: 8711
This item has been sold

Portrait of William Dewe c. 1690; Circle of John Riley.
Oil on canvas in fine quality carved and giltwood 17th century frame.
The sitter wears a fashionable and expensive Indian silk draped over his shoulder, these were so costly that Samuel Pepys hired his when he had his portrait painted. He also wears a large and very expensive wig; the expression 'bigwig' for a rich or important person comes from this fashion.

WILLIAM DEWE, gent. held the important post of Seat Clerk in the Prerogative Court of Canterbury. This was the court through which the discretionary powers and privileges of the monarch were exercised, and also had jurisdiction over deceased estates.
This portrait was probably painted at the time of his engagement or marriage to Elizabeth Butler.

VERSO: three old labels;
1) Handwritten in copperplate: 'William Dewe .... Husband of Elizth. Dewe".
2) A different hand: 'Written by John Butler Pomfret of Tenterden, esq. obit 1834. Restored and cleaned in 1871 by Wm. Pomfret .... of Mary Catherine (Pomfret)/eldest daughter of above John Butler Pomfret - Wm. Dewe and Elizabeth Butler were married in the Charter House Chapel by Rev. Wm. Wellsted 25 July 1693 & had 14 children."
3) Victorian period printed label for Messrs Rutley, Picture Dealers and restorers of London.

The John Butler Pomfret who wrote the first label was born in 1765 in Tenterden, Kent, married Mary Curteis in 1789 and died in February 1834.

JOHN RILEY (1647-1691). Chief Painter to the King from 1688.
"He had a good sense of the character of unpretentious sitters and serious men". 'The Dictionary of 16th and 17th Century British Painters' by Ellis Waterhouse.

SIZE: 37.5 x 32 inches inc. frame.
PROVENANCE: by descent through the Butler Pomfret family.
Collection of Richard Ratcliffe, The Manor House, Waddington, Lincs. (see Image 5)
Ref: 8648
This item has been sold

Portrait of William McLennon c.1710: Attributed to John Scougall.
Oil on canvas in a good quality 18th century carved and giltwood frame.

The young man looks directly at the viewer with a hint of a smile, his wig fashionably tied in a club.
This is an excellent quality portrait with a real sense of the character of the sitter.
According to a copperplate inscription verso the sitter is 'Wm. McLennon of Launceston Castle, by J. Scougall'.

JOHN SCOUGALL (c.1645-1737)
Born in Leith, son or nephew of the artist David Scougall with whom he is likely to have trained.
Established a succesful practice in Edinburgh; he was considered the leading Scottish portraitist until the arrival of John Medina. Scougall's earlist works show the influence of John Michael Wright but he was also influenced by Van Duck in handling and colour. His later works show a fondness for almond shaped eyes and for painting portraits within ovals. He was known as 'Old Scougall' to distinguish him from his son George, also a painter.
Scougall retired, rich, in 1715.

SIZE:37 x 33 inches inc. frame.
PROVENANCE:Various old labels including a storage label for 'Lady Rodney. 18/3/31', plus the inscription mentioned above and an old Christie's stencil.

Ref: 8859
This item has been sold

Portrait of William Stanhope, 1st Earl of Harrington c.1725; by Jonathan Richardson.
Oil on canvas in good carved and giltwood 18th c. frame.

This fine painting, the earliest known likeness of Harrington, is illustrated in the National Portrait Gallery's publication of 1977 'Early Georgian Portraits' (p.135, plate 362 (see image 5) as attributed to Kneller, present location unknown.
Philip Mould OBE, Mayfair portrait specialist and star of TV's 'Fake or Fortune', reattributed this portrait to Richardson when it was in his possession.

"A number of portraits were produced after the sitter's elevation to the peerage in 1730 but the only one prior to that must be of the young-looking man in armour sold from the family collection, Sotheby's, 19 February 1964, lot 20".
This fresh and lively portrait is a fine example of Richardson's work and shows why Sir Roy Strong in his book 'The British Portrait' describes the artist as "the ablest of the painters who came to prominence during the last decade of Kneller's life and who flourished after his death".

Stanhope’s early career saw his greatest achievements. After a spell in the army from 1710 to 1715, Stanhope was appointed plenipotentiary to Madrid. The Spanish had not yet come to terms with their declining power, and Stanhope’s task was made almost impossible by the ineptitude of the Spanish Government.
During the outbreak of war between Spain and England during the War of the Quadruple Alliance (1718-1720), he fought a number of successful engagements, most notably as a volunteer with the French army where he commanded a raid on Spanish ships in the port of St Andero.

After the war, Stanhope returned to Madrid as ambassador. He achieved a notable coup in 1726, when the disgraced Spanish first Minister, Baron Ripperda, fled to Stanhope’s house and revealed Spain’s plans for an invasion of England. In 1727 Harrington was deputed as the British plenipotentiary to the congress of Aix-la-Chappelle, for which work he was created Lord Harrington in 1730. In the same year he became Secretary of State for the Northern Department. In 1746 he was appointed Viceroy of Ireland.

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.

SIZE: 37.5 x 32.5 inches inc. frame.

By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.

John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.
Ref: 8645
This item has been sold

Portrait of William Winder c.1700; English School.
Oil on canvas in the original carved black and gold frame.

WILLIAM WINDER was baptised at Lorton, Cumberland on 24 September 1690; he was the son of John Winder, Esquire, Barrister of Gray's Inn, and Lettice, daughter and co-heiress of William Williams of Johnby Hall, Cumberland.
He was a merchant and Consul at Barcelona from 1723-1734.
The Winder family were given a Royal Charter to most of old Cumberland County in the 14th century and then lived at Lorton Hall for the next three hundred years. As the most prosperous and royally-connected landowners, they gave their name to Windermere amongst other local features and villages.

The unknown artist, clearly influenced by the famous artist Robert Byng (1666 - 1720) who was noted for his portraits of children, has depicted the attractive sitter with great charm. William looks steadily out at the viewer, as befits the heir of an ancient and important family; in his left hand he holds an orange, these were an expensive luxury in Northern Europe, coming as they did from the warm South. They also has considerable symbolic significance.
The orange tree bears leaves, flowers and fruit all at the same time. The leaves, which are evergreen, are the symbol of eternal love, the white flowers represent purity and generosity of spirit and the fruit represents hope for the future of a family or dynasty.
SIZE:36.5 x 30.5 inches inc. frame.
PROVENANCE:Lady Mollie Ponsonby, Haile Hall, Cumbria.
(Image 6 shows the ancient Haile Hall, ancestral home of the Ponsonbys).

Ref: 8779
This item has been sold

Portrait, traditionally identified as Admiral Robert Blake c.1650: Circle of Robert Walker.
Oil on canvas in 18th century gilt frame.

Originally an oval, this portrait has been mounted onto a rectangular canvas, possibly in the 18th century as that is the date of the frame. The inscriptions dates from the same period.
Roughly translated the Latin inscriptions mean " Died in 1657,in his 59th year" and "Blake the victor of the seas. First Cromwellian admiral of the ocean."

ROBERT BLAKE (1598-1657)was one of the most important military commanders of the Commonwealth of England and one of the most famous English admirals of the 17th century, whose successes have "never been excelled, not even by Nelson" according to one biographer. Blake is recognised as the chief founder of England's naval supremacy, a dominance subsequently inherited by the British Royal Navy into the early 20th century. Despite this, due to deliberate attempts to expunge the Parliamentarians from history following the Restoration, Blake's achievements tend not to receive the full recognition that they deserve.
In a letter written on 17 April 1797, to Admiral Sir John Jervis, Admiral Lord Nelson wrote "I do not reckon myself equal to Blake". He ranked Robert Blake as one of the greatest Naval Generals ever known, even when compared with his own reputation.
Blake died of old wounds on board his flagship within sight of Plymouth.
After lying in state in the Queen's House, Greenwich, he was given a full state funeral and was buried in Westminster Abbey in the presence of Oliver Cromwell and the members of the Council of State (although his internal organs had earlier been buried at St Andrew's Church, Plymouth).

ROBERT WALKER (1599–1658) was an English portrait painter, notable for his portraits of the Lord Protector Oliver Cromwell and other distinguished Parliamentarians of the period. He was influenced by Van Dyck, and many of his paintings can now be found at the National Portrait Gallery, London.

SIZE:36 x 31 inches inc. frame.
PROVENANCE:Private Collection.
VERSO: trade label of Frost and Reid of London and Bristol, restorers, with the handwritten number 4226 and the date 10.11.47.
Old storage label for Cox and Co. of Burnham on Sea.
Ref: 8814
This item has been sold

SOLD.......Portrait of Prince Henry, Duke of Gloucester, 17th century; after Johann Boeckhorst
SOLD.....Oil on canvas in giltwood frame.

A 17th c. copy, conceivably a Studio version, of the portrait painted by Boeckhorst c.1659, to celebrate the Duke's initiation as a Member of the Guild of St. George, Bruges. The original is in the Groothuis, Bruges; a replica, 1662, was painted for the Guild of Arbalasters. A third copy, thought to be this one, was sold at Christie's in 1954. The only other known replica is in the National Portrait Gallery (NPG 1932) and came from the family collection of the Viscounts Dillon, Ditchley Park, Oxfordshire.

PRINCE HENRY, DUKE OF GLOUCESTER (1640-1660) was the third son of Charles I and Henrietta Maria; as a child, he lived at Oxford during the Civil War until it was captured by the forces of Parliament in 1646. He saw his father just before his execution in 1649; in 1652 he was allowed join his mother abroad where he resisted her determined attempts to convert him to Catholicism.
In 1658 he fought for the Spanish army against the French, showing great bravery and resource. (In this portrait the prince is depicted not only wearing armour but holding the baton of a commanding officer). Shortly after his return to England at the Restoration he died of smallpox; a great loss, for all praised his his vivacity, wit and understanding. Had Henry lived, as a staunch Protestant he would have been a viable proposition to replace his deposed Catholic brother James in 1688, and the Stuart reign would have continued.

JOHANN BOECKHORST was a Flemish painter and draughtsman of German birth (c. 1604 - 1668). Educated as a scholar, Boeckhorst became a cleric at the seminary of St. Clemens in Germany in 1621, he later moved to Antwerp where, in 1626, he became a pupil of Jacob Jordaens and Peter Paul Rubens. The great influence of these artists on Boeckhorst is apparent In 1633/34, while serving as an assistant of Rubens, he became a free master of the Antwerp guild of St. Luke. Boeckhorst traveled throughout Italy between 1635 and 1637 and returned in 1638 to visit Rome. The Flemish artist also completed numerous commissions in the 1630s as an independent painter. In addition, Boeckhorst collaborated on numerous commissions with notable artists like Fyt, Brueghel ,Snyders, and Wildens, who were also influenced by Rubens. However, the majority of his commissions date after c. 1650.
As in this portrait of Prince Henry, Boeckhorst’s work after 1650 was heavily influenced by the Flemish artist Van Dyck. Elements of Van Dyck’s style that appear in Boeckhorst's work include figure type and dramatic structure.

SIZE: 56 x 46.5 inches inc. frame
PROVENANCE: Collection of a West Country Gentleman; left to his housekeeper.

Ref: 8458
This item has been sold

SOLD.......Self Portrait 1859 by David Simonson.
Oil on canvas in gilt frame (slight damage).

A beautifully painted self portrait of great sensitivity with a real sense of insight of the artist's character. He looks confidently out at the viewer, his beard and hair the styles in fashion for creative men at this time...the young Charles Dickens was painted by Ary Scheffer in 1855 with hair this length and beard of this type.
Born in 1831, David Simonson was aged 28 in this painting and living in London. He was at his most active at this time; from 1858 to 1859 he exhibited five paintings at the Royal Academy.

This intimate portrait is signed and dated "D. Simonson ipse pinx. 1859" (D. Simonson painted this of himself in 1859)

SIZE: 23.75 x 21.75 inches inc. frame
PROVENANCE: Southern English private collection.

Ref: NP105
This item has been sold

SOLD......Portrait of a Gentleman 1663; English School.
Oil on canvas, unframed.
Inscribed "Anno Domini 1663"

This mid-17th century portrait shows a young man who looks confidentally out at the viewer.
Although the sombre clothing might cause one initially to think the sitter is a Puritan, a closer inspection would suggest otherwise.
His hair is long, luxuriant and very fashionable and the type of neckwear...called a falling band...was worn by academics and lawyers as well as the clergy.
Bands varied from small white turn-down collars and ruffs to point lace bands, depending upon fashion, until the mid-seventeenth century, when plain white bands came to be the invariable neck-wear of all judges, serjeants, barristers, students and clerical and academical men.
Bands were adopted in England for legal, official, ecclesiastical and academical use in the mid-seventeenth century. They varied from those worn by priests (very long, of cambric or linen, and reaching over the chest), to the much shorter type shown here used by other professions.

SIZE:30 x 24 inches unframed.
PROVENANCE: Private Collection, Gloucestershire
Ref: 8617
This item has been sold

SOLD......Portrait of a Young Boy c.1750; Studio or Circle of Antoine Pesne.
Oil on canvas in distressed gilt frame.

This beautiful little portrait has an intimate and jewel-like quality.
The aristocratic sitter, a good-looking boy of about eight wearing a military uniform, surveys the viewer with a level gaze.
The eighteenth century was a period of almost constant warfare across Europe and the Prussians were frequently involved, culminating in their alliance with the British to defeat Napoleon at Waterloo.
A boy of the sitter's class would almost certainly have been engaged in these conflicts, exchanging his play uniform for a real one as an officer.
What his future held will never be known to us, but now, 260 years later, this beautiful little boy, proudly wearing his uniform, looks confidently into our eyes, caught in a moment of time...forever young.

The frame is not the original but is of considerable age, as can be especially seen in the image of its back.
It dates from around 1810. By the end of the 18th century framemakers had begun using 'composition' or 'compo', this had the benefit of being easier to work than wood and thus kept down costs.

This frame is Louis XV (1710-1774) in style and therefore, stylistically, is correct for this mid 18th c. portrait. What happened to the original frame will never be known.
The idea behind this style of frame was that the bold, massy decoration gives great weight to the containing corners, especially on a small portrait, and the depth of the frame itself acts a strong setting for the painting in the way that a heavy gold setting sets off a jewel.

ANTOINE PESNE (29 May 1683 – 5 August 1757) was a French-born court painter of Prussia. Starting in the manner of Baroque, he became one of the fathers of Rococo in painting.

Born in Paris, Pesne first studied art under his father, the painter Thomas Pesne and his great-uncle, Charles de la Fosse. From 1704 to 1710 he received a stipend for advanced training at the Académie Royale in Italy, visiting Rome and Naples before settling in Venice. In 1707 his portrait of the Prussian ambassador to Venice attracted the attention of Frederick I of Prussia, who invited the painter to Berlin.
Pesne arrived in 1711 and was soon made court painter, quickly establishing a great reputation for his portraits of the leading aristocracy.

In 1710, he was called to Berlin by King Frederick I of Prussia.

As the director of the Berlin Academy of the Arts from 1722, Pesne became famous through his portraits of the Prussian royal family and their household. Many of his portraits hang in Berlin Museums and in Charlottenburg Palace. These include (among others) his portraits of the first two kings of Prussia and Frederick Williams family.

Pesne's portraits provide a vivid illustration of the spirited courtly culture of Prussia at the time; the have the lightness of touch and rich colour which are the hallmarks of the Rococo.
In addition to his state portraits of the powerful Pesne produced a number of more informal, intimate portraits often of his family.

SIZE: canvas 9.5 x 8 inches.
Framed size: 18 x 10. 25 inches.
PROVENANCE: English Private Collection.

Ref: 8657
This item has been sold

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