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Our website was last updated on: 03 August 2015
 
SOLD ITEMS
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SOLD....Portrait of a Lady in Blue c.1855; attributed to Charles Baxter RBA
Oil on canvas in original gilt frame.

Standing on a terrace the sitter looks out beguilingly, a fashionable Kashmir shawl over her arm.This charming portrait of a pretty young lady is a fine example of Baxter's work.
His female heads are especially characterised by refinement of expression and purity of colour, shown here to perfection.

CHARLES BAXTER RBA (March 1809 - 10 January 1879) was an English portrait and subject painter, known especially for his portraits of pretty young women.
Baxter was born in Little Britain, London in 1809, the son of a book clasp maker, and started his career apprenticed to a bookbinder. However, he gave up this business to commence life as a professional painter, chiefly of miniatures and portraits. In 1834 he made the acquaintance of George Clint, from whom he received some valuable instruction, and in the same year exhibited for the first time at the Royal Academy.

In 1839 he joined the Clipstone Street Society, and studied there along with Paul Falconer Poole, William Müller, Edward Duncan (1804–1882), Joseph John Jenkins (1811–1885), Francis William Topham (1808–18), and others, who afterwards became distinguished in the profession. He became a member of the Royal Society of British Artists in 1842, and contributed many paintings to its exhibitions.

SIZE: 33.5 x 29 inches inc. frame.
PROVENANCE: Sussex private collection.
Ref: 8663
This item has been sold





SOLD....Portrait of a Lady in Grey c.1720; Attributed to Enoch Seeman
A fine quality portrait of an attractive young lady sitting in an Arcadian landscape.

The mythical land of Arcady or Arcadia was a domain where love and happiness reigned and was a fashionable setting for portraiture and literature.

The sitter has flowers in her lap which had a strong symbolic meaning at the time. Fertility and future child bearing are signified, the flowers also are a reminder that youth, and indeed life, are fleeting things. However, the large rose dominating the flowers is a symbol of love and its power. This may well have been a portrait to commemorate an engagement to marriage.
The young lady conveys a sense of calm and serenity as she looks confidently at the viewer.

On the reverse of the painting is an old label mistakenly identifying the sitter as Maria Gunning, Countess of Coventry (1733-1760).

ENOCH SEEMAN (c.1694-1744) Enoch Seeman the Younger was born in Danzig, now Gdansk, Poland.. His father, also Enoch was born around 1661, and the Seeman family were painters. Having been brought to London from his home in Flanders by his father in 1704, the younger Seeman's painting career began with a group portrait of the Bisset family in the style of the portraitist Godfrey Kneller, now held at Castle Forbes in Grampian, Scotland, and dated by an inscription 1708.
As a painter to the British royal court he completed portraits of George I in 1730, in the robes of his coronation and of George II some years later. The first of these pictures is held at the Middle Temple in London, England, and the second is at Windsor Castle in Berkshire, England, part of the Royal Collection. The Yale University Art Gallery owns a portrait of Elihu Yale in 1717 by Seeman and the Metropolitan Museum in New York, USA owns his rendering of Sir James Dashwood, described by the Grove Dictionary of Art as 'Exceptionally lively'.
Seeman's work is represented in the National Portrait Gallery in London. The National Trust owns three examples of his work - at Dunham Massey, Oxburgh Hall and Belton House.

SIZE: 53 x 43.25 inches inc. frame.

PROVENANCE: A private Surrey collection for many years. Verso: an old label for 'The Farnham Depository' and a handwritten inscription 'Maria Gunning, afterwards Countess of Coventry. On my decease this picture to be delivered to Nicholas Tyrell-Evans Esq; K.S. Wasey'.
Ref: 8526
This item has been sold





SOLD....Portrait of a Lady of the Orlebar family c.1735, by John Vanderbank.
Oil on canvas in fine quality custom built giltwood frame of early 18th century type.
This is almost certainly a betrothal portrait and is one of Vanderbank’s most attractive female portraits.
It hung in Hinwick House for generations and is most probably a lady of the Orlebar family. Richard Orlebar had built the beautiful mansion of Hinwick House in 1708.

JOHN VANDERBANK (1694-1739) was born in London into an artistic family at the close of the seventeenth century. The son of John Vanderbank Senior, the well known royal tapestry weaver, Vanderbank studied painting first with his father and the portrait painter Jonathan Richardson.
He was one of Godfrey Kneller's earliest pupils at the Academy of Painting from 1711, and in 1720, when Kneller’s academy began to decline, started his own Academy of painting in St. Martin's Lane.

Vanderbank himself was a very able draughtsman, who, in his prime, found his works favoured over those of Hogarth. His painting style followed on from the vigour and grand style of Kneller. His work, however, is characterised by a more vital and nervous drawing than many of his contemporaries, and by a bold pigmentation, particularly in the flesh, where pink tones are painted thinly over the cooler greys of the ground layer to suggest glowing skin – the technique of 'colori cangianti', derived via Rubens from the artists of the seicento. Equally distinctive in Vanderbank’s work is the placing of pure red pigments for the highlights.

It was noted by George Vertue that "only intemperance prevented Vanderbank from being the greatest portraitist of his generation." He died of tuberculosis in Holies Street, Cavendish Square, London, on 23 Dec. 1739, aged about 45, and was buried in Marylebone church.

SIZE: 50 x 40 inches canvas.
59 x 48.5 inches inc. frame.
PROVENANCE: the Orlebars of Hinwick House, Bedfordshire, and by descent.
Image 5 shows Hinwick House.

Ref: 8578
This item has been sold





SOLD....Portrait of a Master of Foxhounds, c.1820; Attributed to James Barenger
Oil on canvas in good carved giltwood period frame.

A charming and good quality late Regency/George IV portrait of a mounted huntsman, hounds behind him and the hunt moving down the slope.

JAMES BARENGER (Jnr) 1780 – after 1831, was an English animal painter and illustrator.

Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and exhibited artist of insect paintings at the Society of Artists and Royal Academy. His mother was Sarah née Woolett, the daughter of the celebrated engraver, William Woollett; James's brother, S. Barenger, also became an engraver.

James started off painting landscapes but went on to paint horses, dogs and other animals, and hunting scenes. From the year 1807, at the age of 28, he exhibited at the Royal Academy in London. He was at this stage living with his father in Kentish Town, but later moved to Camden Town. He exhibited 48 paintings at the Royal Academy and 8 at the British Institution.

He acquired numerous wealthy and titled patrons and his pictures were also engraved for sporting publications such as W. H. Scott's "British Field Sports", "The Sporting Repository", "The Annals of Sporting" and "The Sporting Magazine".

As well as painting animals, Barenger also bred pointer dogs. He died around 1831 and was buried in Old St. Pancras churchyard.

An equestrian portrait by him of Jonathan Griffin, Huntsman to the Earl of Derby's Staghounds, painted in 1813, is in the Tate Gallery.

SIZE:28 x 31 inches inc. frame.
PROVENANCE: Private Collection, Westmoreland country house.
Ref: 8610
This item has been sold





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.
PROVENANCE:
*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



 
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