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Our website was last updated on: 29 November 2015
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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

SOLD....Portrait of a Lady 1931, by Flora Lion
Oil on canvas, signed and dated upper right.

A superb and insightful portrait of a young woman, relaxed and lost in thought.

FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.

During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.

She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.

SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.
Ref: nrfk7
This item has been sold

SOLD....Portrait of a Lady c.1660 (possibly Anne Lindsay, Duchess of Rothes) ; Follower of Jan Mytens
Oil on canvas in reproduction frame of appropriate type and period.

A charming portrait of an attractive lady with a direct but modest gaze.
The artist strongly influenced by Mytens, especially in the rendering of the shimmering silk dress.

It is possible that this is Lady Anne Lindsay (born before 1638) who was the daughter of John Lindsay, 17th Earl of Crawford, and Lady Margaret Hamilton. She married John Leslie, 1st Duke of Rothes, and had two daughters.
The Duchess was a Presbyterian and favoured the doctrines of the Covenanters.
A portrait by David Scougall of the Duchess in later years exists.

(Our thanks to Aileen Munro-Cameron for help with the above)

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.

SIZE: 26 x 21 inches canvas size; 32 x 27 inches inc. frame.

Verso: three old labels.
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection
Ref: 8397
This item has been sold

SOLD....Portrait of a Lady c.1660; Circle of John Michael Wright
Oil on canvas in a veneered ogee frame surmounted by the sitter's coat of arms.

The sitter is depicted in the Arcadian landscape so fashionable at the time [Arcady, or Arcadia, was the mythical land where beauty, innocence and joy reigned].
Unusually, the sky is depicted as stormy and dark, but this serves only to emphasise the serene beauty of the young woman who appears radiant against the darkness.
The sitter is as yet unidentified, [the arms are not those of the Thorolds], so it seems most likely that she married into that family in the mid 17th century.

JOHN MICHAEL WRIGHT (1617-1694) was one of the most successful native English artists of the seventeenth century. With earlier contemporaries such as Robert Walker and William Dobson, he was one of only a few English painters to find favour amongst the top echelons of society. At the height of his fame, he styled himself ‘Pictor Regius’ [The King’s Painter]
His career was all the more remarkable in an era when patrons continued their traditional preference for foreign artists, as they had done from Holbein to Van Dyck.
Wright’s success lay in his uniquely diverse artistic background and training. Although born in London, he first trained in Scotland under George Jamesone. He then left for Italy and stayed in Rome for a decade from 1642, working amongst contemporaries such as Poussin and Velazquez. In 1648 he became a member of the Academy of St Luke. He returned to London in 1656, after having spent time in France and Flanders. No other English artist before Wright had travelled and studied so extensively on the Continent.

SIZE: 46 x 38 inches canvas
60 x 47 inches framed inc. crest.

Syston Hall, Grantham [demolished in 1923] the former seat of the Thorold family. (NOTE: the fifth image shows Syton Hall in the early 20th c)
By descent to John Thorold.

Verso: a damaged handwritten 19th c. label: "Gertrude Sophia Caler... From: ...Wharton Ing...dle"
Ref: 8452
This item has been sold

SOLD....Portrait of a Lady c.1675 by a Follower of Sir Peter Lely
Oil on canvas.

A strong and pleasing image by an artist as yet unidentified but very strongly influenced by Sir Peter Lely; the drapery is depicted in a flamboyantly painterly manner, with a real enjoyment in the handling of the medium. The sitter is wearing the fashionable 'undress' of the period and has a direct and rather provocative look.

SIR PETER LELY (1618-80) was the dominant Court and Society portraitist of the reign of Charles ll, noted for the sensual way he portrayed many of the female members of the permissive Court. Lely was appointed Principal Painter to the King in 1661 and knighted in 1680; his influence on portraitists of the time was profound.

PROVENANCE; a Kent private collection.
This item has been sold

SOLD....Portrait of a Lady c.1700; Circle of Kneller.
Oil on canvas in oval giltwood frame.

A pleasing portrait of an attractive young woman, absolutely typical of its period, and of good quality. The sitter's fashionable hair style is complimented by the equally fashionable low cut dress and pearls, the favourite decoration of the Baroque.

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: 20 x 16 inches canvas size
26.25 x 22 inches inc. frame

PROVENANCE: Wiltshire Private Collection
Ref: 8551
This item has been sold

SOLD....Portrait of a Lady c.1710; English School
Oil on canvas in reproduction giltwood frame.

An English School painting showing strong signs of the influence of Sir Godfrey Kneller, Painter to the Royal Court and the most fashionable artist of his time.
This provincial portrait was probably painted by one of the many itinerant artists of the early 18th century who went from town to village painting the local lesser gentry and prosperous tradespeople.
Clearly this unknown artist was aware of Kneller's style and that the feigned oval was the height of fashion.
Although this artist did not have a great talent, this is a very pleasing slightly naive portrait and redolent of its period.

SIZE:39.25 x 33.5 inches inc. frame
29 x 23 inches canvas size

PROVENANCE: Oxfordshire Private Collection
Verso; hand painted old inventory number 'No.22'
Ref: 8250
This item has been sold

SOLD....Portrait of a Lady c.1720; Attributed to William Aikman.
Oil on canvas in a period carved and giltwood frame.

The sitter is shown within a feigned oval, her dress secured with pearl and gemstone buttons; the deep neckline was the height of fashion.

WILLIAM AIKMAN (1682-1731) was a Scottish portrait painter, only son of the Laird of Cairney, Forfar where he was born. He developed a passion for painting and studied under Medina, sold the family estate and went to Rome in 1707 for three years. He settled in Edinburgh in 1712 and was an excellent taker of likenesses, the best Edinburgh portraitist of his time, painting most of the nobility, gentry and lawyers.
In 1723, encouraged by the Duke of Argyll, he moved to London where he was not only patronised by Scots, but became well known in literary circles and the friend of Pope, Gray, Thomson and others.
He died in London but by his wish was buried in Grey Friars Church, Edinburgh.

SIZE: 37.5 x 32.5 inches inc. frame.
Scottish Private Collection.
Sotheby's October 2004.
London Private Collection.
Verso: old Edinburgh framers and art dealers' labels.
Ref: 8772
This item has been sold

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