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Our website was last updated on: 05 July 2015
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SOLD....Portrait of a Member of the Stafford family 1613; English School
A good quality oil on panel with the coat of arms of the Stafford family upper left, and the inscription " T S Aet Suae 25 Ano 1613" (T S at his age of 25 in the year 1613). Now in a 19th century frame.

Verso an old painted inscription "William Stafford Obit 1625" (Died 1625), however, the initials beneath the armorial are T S, not W S. A possibility may be Thomas Stafford of Devon, gent., who graduated B.A. from Exeter College, Oxford on 12 November 1613.

Regardless of the precise identity of the sitter, this is a fine example of Jacobean portraiture. The sitter is sensitively depicted, with his face revealing an alert intelligence. The costly silk clothing, fine ruff and exquisitely worked belt buckle are all well painted and make the point of the sitter's wealth.

SIZE: 29.5 x 23.5 inches inc. frame.
PROVENANCE: English Private Collection.

Ref: 8556
This item has been sold

SOLD....Portrait of a Noblewoman c.1600-1620: Anglo-Dutch School
Oil on canvas in reproduction 'cassetta' frame.

This extremely high quality portrait depicts an aristocratic lady of mature years, a coat of arms to her right.

The lady stands directly facing the viewer, her expression and gaze confident; this 'full frontal' pose was, at this time, usually reserved for men of power and thus makes a considerable statement as to the prestige and status of the sitter.
Her clothing, with the hugely expensive 'reticella' lace, elaborate embroidery and princely display of jewels, demonstrates vast wealth.

This portrait is a symbol of power for an independently minded woman - yet the image is not a mere icon. There is humour and good nature to the face...as well as a strong sense of an autocratic will.

Although the names of sitter and artist are as yet unknown this is a fine portrait of a noblewoman in the mould of Elizabeth l and Bess of Hardwick.. a strong, powerful woman succeeding in a man's world.

SIZE: 38 x 32.75 inches inc. frame.

PROVENANCE: Private Collection, Edinburgh for the last 30 years.
(Bought by the previous owners in Surrey in 1977)
Ref: 8462
This item has been sold

SOLD....Portrait of a Physician c. 1780; Follower of Sir Nathaniel Dance R.A.
Oil on canvas in a simple frame.

An unusual portrait of a physician/surgeon c.1770, his right arm resting on a medical book and an anatomy diagram to his right.
The doctor wears a good quality broadcloth suit expensively trimmed with silver braid; he wears his own hair rather than a wig and it is unpowdered. He looks out with a serious but benign expression...the very image of a competent professional man.

SIR NATHANIEL DANCE R.A. (1735 - 1811) was a neo-classical history painter and portraitist. Son of an architect, he was trained as an artist by Francis Hayman from c.1749. He went to Rome in 1754 until 1765, working with Pompeo Batoni.
He met, and fell in love with, Angelica Kauffmann but the relationship ended when they returned to London in 1766.
Dance had a very good portrait business in London, painting the King and Queen.
His male portraits were renowned for being solid and full of character.
He was elected a founder member of the Royal Academy.
He became a baronet and inherited a fortune in the 1770s and gave up portrait painting in 1782, becoming an M.P. in 1790.

SIZE: 39 x 31.5 inches inc. frame

PROVENANCE: Private Collection.
Ref: 8246
This item has been sold

SOLD....Portrait of a Royal Navy captain c.1810; Follower of Sir Thomas Lawrence.
Oil on unlined canvas in good quality original frame.

The officer wears a single epaulette on the right shoulder, the mark of a captain of less than three years seniority; the portrait was possibly painted to mark the promotion of this young man from lieutenant to captain.
His sword by his side, his right hand holds a telescope, whilst to his left is a cannon.

This sensitive yet bravura portrait of a young Royal Naval officer painted during the Napoleonic War is typical of Lawrence's dramatic style; the background a windswept cloudiness, the sense of incipient action and danger.
The artist has overcome the restrictions of the small scale of the portrait by infusing it with a dynamic movement - a sense of drama for dramatic times.

This is apparent in every aspect, from the turn of the sitter's neck and the tousled 'Classical Roman' hairstyle - all revealing the debt to, and interest in, Classical sculpture and form which defined the taste of the age. This is a memorable painting of a young naval officer whose chosen career was one of considerable danger at a time when the British Isles were in great peril.
There is an urgency to the image and the unspoken drama that the sitter conveys is intensified by the lowering, stormy sky, and the picture communicates a romantic sensibility that was very much the fashion.

SIR THOMAS LAWRENCE (1769-1830) was the most remarkable British portrait painter of his day. He became an Associate of the Royal Academy in 1791, Member in 1794 and President in 1820. In 1792 he was made Painter to the King. Lawrence's work epitomised the Regency style.

SIZE: 20 x 17.5 inches inc. frame.
*Jim Ecolme, York (label verso)
*Oxfordshire Private Collection.
Ref: 8723
This item has been sold

SOLD....Portrait of a Scottish Nobleman 1627; by Adam de Colone
Oil on canvas in reproduction 'cassetta' frame of the correct type.
The canvas inscribed u.l. 'Aetatis. 29. / 1627'.
The form of the inscription is so specific to Adam de Colone as to be as reliable as a signature for the purposes of attribution.
At this period de Colone's work was in its fullest flowering, showing great subtleties of character in the sitters . This sensitivity was denied to many of his contemporaries.

This is a high quality portrait of a young man, almost certainly a member of the Scottish nobility, wearing a fine slashed doublet with expensive 'reticella' lace to collar and cuffs; his silk doublet and fine lace are indications of wealth and status and are carefully depicted.
In a period when black clothing was the fashion artists strove to depict the different nuances and textures of the fabrics as convincingly as possible.
They found that black is an ideal background with which to contrast the crisp white linen and rich lace and this dramatically accentuates the face and hand gestures. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of portraiture of this period.
The sitter's gold brocade sword belt adds a further touch of the dramatic.

ADAM DE COLONE (painting c.1613-1628) was a portraitist of Scottish sitters. He was born in Edinburgh (probably c.1593), son of Adriaen Vanson (James VI's Court Painter) and Susanna de Colone; he trained in the Netherlands in the tradtion of Miereveld. He returned to Scotland c.1622 and painted two portraits of King James in 1623, for which he was paid £60.
Colone has been identified as the painter of 23 portraits of Scottish upper nobility, one of which, 'George, 3rd Earl of Winton and his two sons', is associated with a payment to 'Adame the painter'; this is his finest portrait and can be seen in the Scottish National Portrait Gallery, along with portraits of 'Anne Hay' and 'James VI'.

His earliest known portrait is a three-quarter length on panel of Sir William Stewart of Grantully of 1613, sold a few years ago at auction in Edinburgh to the art trade for £53,000.
The latest dated of his portraits is 1628, after which there is no further evidence of him.
Colone's work provided both competition and example to George Jamesone.

SIZE: 24.75 x 19.75 inches canvas size
33 x 28 inches frame size

Verso: old collection, exhibition and storage labels

PROVENANCE: Acquired from Shepherd Bros. in December 1912 by T.W. Bacon (1863-1950).
At East Riddlesden Hall 1962-99.
Sold by his executors in 2000.
A Private Collection 2000 - 2008

EXHIBITED: Loaned to the Union Club, Manchester 1950-1954.
Loaned to the National Trust for display at the 17th c. East Riddlesden Hall, Yorkshire from 1962 to 1999.

Ref: 8464
This item has been sold

SOLD....Portrait of a Young Boy and His Cat c.1830; English School.
Oil on canvas in distressed Victorian frame.

An appealing portrait of a young boy and his pet cat painted c. 1830. The boy gazes calmly out at us whilst holding a wriggling cat (little more than a kitten).
As was then the fashion, indeed, as it had been for centuries, young boys wore a dress until they were about six or seven when they were 'breeched' and wore their first proper male clothing.
The boy wears an extraordinary hat which seems to be Greek or Ottoman in inspiration. The poet Lord Byron was painted wearing one with Greek national costume at this time.

The sitter and the artist are both unknown but the latter seems to have influenced by Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) who was a leading English portrait painter and President of the Royal Academy.

SIZE: 40.5 x 35.25 inches inc. frame.
Canvas size: 30 x 25 inches.
PROVENANCE: Private Collection, Shropshire.
Ref: 8662
This item has been sold

SOLD....Portrait of a Young Boy and his Spaniel c.1710, by Charles D'Agar
A fine quality oil on canvas in original carved and giltwood frame.

This charming portrait depicts a young aristocrat wearing the fashionable 'banyan' or loose robe favoured for relaxation at that time. Equally fashionable was the ostrich feather trimmed tricorne hat and the cravat tied 'a la Steinkirk'.

(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the lace of fringed ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)

The boy stands on a stately terrace with an Italianate garden behind him; the beautifully painted Spaniel playfully crouching at his feet was probably a pet but is also a symbol of fidelity and trust.

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.

D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
This portrait is strongly reminiscent of a portrait of Lord George Douglas in the collection of the Dukes of Buccleuch, which was painted in 1709. Payment of £16 2s 6d was paid for this.

SIZE: 58 x 49 inches inc. frame.
PROVENANCE: a country house collection in the South West of England
Ref: 8524
This item has been sold

SOLD....Portrait of a Young Boy as an Artist, late 18th c; Follower of François-Hubert Drouais
Oil on canvas in a gilt frame of late 18th c. type.
The good looking boy is dressed in the fashionable clothes of aristocratic children of the period and, holding his palette, turns away from the portrait he is painting to look at the viewer.
His rather thoughtful gaze and slight smile enhance the charm of this beautiful portrait.

FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.

SIZE: 30 x 25 inches inc. frame.
PROVENANCE: French Private Collection.
Ref: 8513
This item has been sold

SOLD....Portrait of a Young Boy c.1650; Follower of Pieter Nason
Oil on canvas c.1650 in a good quality reproduction gilt frame of 17th c. type; a charming painting of a young boy, painted within a feigned oval, by a Follower of Pieter Nason.

Pieter Nason (1612 - 1689) was a talented portraitist who left Amsterdam in 1639 to settle in The Hague. On arrival he abandoned his rather outdated manner in favour of the fashionable style popular in the court-capital.

His smooth technique and habit of painting young children in fantasy costumes (a mixture of the fashions of the day and a pseudo-historical look) helped make Nason a sought after and valued portraitist both inside and outside the Netherlands.

He worked for a time at the Court of Charles ll in England.

Size: 30.5 x 26 inches framed
26 x 21 inches canvas size

Provenance: stretcher bears old stamp of a French restorer.

Ref: 8375
This item has been sold

SOLD....Portrait of a Young Boy with a Hoop c.1826; Attributed to Sir John Watson Gordon.
Oil on canvas in period gilt frame.

A charming image of a young boy about to bowl his hoop along the ground.
This excellent portrait has the simple sincerity for which Gordon was noted.

SIR JOHN WATSON GORDON, RA. PRSA. (1788 -1864) was a Scottish portrait painter and a president of the Royal Scottish Academy.
He was born John Watson in Edinburgh, the eldest son of Captain Watson, R.N., a cadet of the family of Watson of Overmains, in the county of Berwick. He showed a natural aptitude for art, and his father was persuaded to allow him to adopt it as his profession. Captain Watson was himself a skilful draughtsman, and his brother George Watson, afterwards president of the Royal Scottish Academy, was a highly-respected portrait painter, second only to Sir Henry Raeburn, who was also a friend of the family.

In 1808 John exhibited a picture "The Lay of the Last Minstrel" at the Lyceum in Nicolson Street, Edinburgh - the first public exhibition of paintings in that city - and continued for some years to exhibit fancy subjects; but, although freely and sweetly painted, they were altogether without the force and character which stamped his portrait pictures as the works of a master. After the death of Sir Henry Raeburn in 1823, he succeeded to much of his practice. He assumed in 1826 the name of Gordon to distinguish himself from his two cousins and uncle who were also painting in Edinburgh.

One of the earliest of his famous sitters was Sir Walter Scott, who sat for a first portrait in 1820.
During the last twenty years of his life he painted many distinguished Englishmen who came to Edinburgh to sit to him; and it is significant that David Cox, the landscape painter, on being presented with his portrait, subscribed for by many friends, chose to go to Edinburgh to have it executed by Watson Gordon, although he neither knew the painter personally nor had ever before visited the country.

Gordon was one of the earlier members of the Royal Scottish Academy, and was elected its president in 1850; he was at the same time appointed Limner for Scotland to the Queen, and received the honour of knighthood. Since 1841 he had been an associate of the Royal Academy, and in 1851 he was elected a Royal Academician.

SIZE: 36 x 31 inches inc. frame.
PROVENANCE: Private Collection, South of England.
Ref: NP101
This item has been sold

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