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Our website was last updated on: 29 July 2014
 
SOLD ITEMS
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SOLD...Mediaeval carved oak angel
This very rare survival from the Middle Ages shows all the signs of often turbulent English history.

A guardian angel from a Derbyshire church, it was carved c.1480-1500, and brutally savaged by either Reformist zealots in the mid 1500s or by Puritans during the Civil War of the mid 1600s.

Even with its wings hacked off and the scars of swords or axes defacing the wood the angel still conveys a sense of peace.

This ancient carving is so evocative of its 500 years of history, standing, head bowed, with a battered resilient beauty.

SIZE: 42 inches tall.
PROVENANCE: An Elizabethan manor house in Norfolk.
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SOLD...Oliver Cromwell; after Lely
Oil on canvas in reproduction period frame. A good late 18th/early 19th c. portrait of OLIVER CROMWELL (1599-1658) after the famous painting of 1653 by Sir Peter Lely. Painted in the year Cromwell took complete power as Lord Protector of England (king in all but name). His instruction to Lely was 'paint my picture truly like me, and not flatter me at all; but remark all the roughness, pimples, warts and all'.
SIR PETER LELY had suceeded Van Dyck as England's leading portraitist in the second half of the 17th century. Dutch born, he survived the perilous tides of political change that swept the country. He worked for Charles l and, after the King's execution, for Cromwell, before Charles ll appointed him Principal Painter to the Court in 1660.
SIZE: 32 x 27 inches inc. frame.
PROVENANCE: an English Collection
Ref: 8392
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SOLD...Pair of Portraits of John and Jane de Carteret 1750s: Attributed to Hamlet Winstanley.
ONE OF THE PAIR OF DE CARTERET PORTRAITS.
Pair of oils on canvas in giltwood frames.

This charming pair are probably engagement portraits painted to commemorate their forthcoming union.
The artist has used a bright, soft palette giving an optimistic Spring like feel to the paintings. Jane holds a basket of flowers and wears one as an ornament in her hair.
John, as befits an 18th century gentleman of noble lineage, stands confidentally, his tricorne hat under his arm, one hand on his hip and the other tucked into his waistcoat.

The DE CARTERET family.
"There are few families, if any, who can show a record as famous and remarkable as that of the noble family of de Carteret, and the fame of their deeds is recorded alike in French and English chronicles.
Their history through succeeding generations is closely interwoven with the history of Jersey; their most striking characteristic has been a deep loyalty to their Dukes of Normandy, embodied in the persons of the monarchs of England. Nor is it too much to say that this, the most important of the Channel Islands, has been held steadfast and loyal to the English throne largely through the extraordinary patriotism and exceptional qualities of this family.
The de Carterets are of ancient Norman descent. The name Onfrey de Carteret is mentioned amongst those who followed William the Conqueror to England, and he was probably one of the Seigneurs of Normandy even at that early time." 'Jersey: An Isle of Romance' by Blanche B. Elliott, (published 1923).

The de Carterets prospered not only in Jersey; Philip (1639-1683) was the 1st Governor of New Jersey, and Rear Admiral Philip de Carteret (1733-1796) was a famous circumnavigator.

HAMLET WINSTANLEY (1698-1756) was a painter and engraver based predominantly in Warrington, Lancashire. Initially self-taught as an artist by 1713 he was in London drawing in Kneller's academy in Great Queen Street, returning to Warrington in 1721. Under the patronage of James Stanley, 10th Earl of Derby, of Knowsley Hall, Lancashire, Winstanley spent two years in Italy between 1723 and 1725. On his return to England he painted members of the Stanley family which remain at Knowlsey today. Today Winstanley is perhaps best known as an early tutor of George Stubbs (1724-1806).

SIZE: 40.5 x 32.5 inches inc frame.
PROVENANCE: English Private Collection.
VERSO: old inscription "John de Carteret, son of Philip de Carteret married Jane Falla 14th March 1758".

IMPORTANT NOTE: THIS PORTRAIT IS SOLD AS A COMPANION TO THE ONE OF JOHN DE CARTERET AND THE PRICE IS FOR THE PAIR.
Ref: 8646/7
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SOLD...Portrait of a bibliophile; English School, 17th Century
English School, 17th Century
Portrait of a bibliophile, half-length, seated in a library with a folio, a seal in his left hand
inscribed 'HISTOR. THE FIFTH' (on the book)

oil on canvas in carved and giltwood period frame

The inscription 'HISTOR. THE FIFTH' on the folio in this portrait could relate to a reprint of Shakespeare's Henry V by the likes of a stationer such as Robert Allot or Thomas Cotes (both of whom published the Second Folios of Shakespeare's plays in the 1630s).
The costume of the sitter would appear to date to around the 1630s-1640s, but the handling of the paint itself would suggest that the picture is likely to date to the second half of the 17th Century.


CANVAS SIZE: 43¼ x 58 in.
PROVENANCE: Rev. Warrington of Bath; Christie's, London, 30 April 1951, lot 103 as 'Jackson'.
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SOLD...Portrait of a Boy c. 1675; Follower of Lely
17th c. oil on canvas in a 'Lawrence' style gilded frame of c.1845.

A pleasing portrait of a boy aged about 14; in what was known as 'elevating the sitter' he is depicted wearing not the clothes of the late 17th century but a garment drawing its inspiration from the uniform of a Roman officer. Even the 'contrapposta' pose is based on Classical statuary; this 'counterpoise' gave the sitter a more relaxed yet dynamic appearance.
There were two points to these references, firstly it showed that the sitter was a gentleman with an understanding of the world of Ancient Rome and Greece (very important and fashionable at the time) and, secondly, the wearing of this costume was supposed to impart a timeless quality to the painting.

The artist was strongly influenced by Sir Peter Lely, but his technique shows a more loose brushwork giving a sense of immediacy and, with the closeness of the sitter, a feeling of intimacy.

SIR PETER LELY (1618 - 1680) was the dominant Court and Society portraitist of the reign of Charles ll. He was made Principal Painter to the King in 1661, and knighted in 1680.

SIZE: canvas 19.5 x 14.75 inches
frame 27 x 23 inches
PROVENANCE: Private Collection for many years.
Verso: 19th c. inscription in ink 'P. Shalford Esq'
Pencil inscription 'Mrs. Dangerfield, Fairford, Glos'.
19th c. handwritten inventory number '8'.
Ref: 8474
This item has been sold





SOLD...Portrait of a Boy c.1695; Circle of Charles D'Agar.
Oil on canvas in period carved and giltwood frame.

The sitter, expensively and fashionably dressed, looks confidently out at the viewer; he wears his 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 ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)

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.

SIZE: 38 x 33 inches inc. frame.
PROVENANCE: by descent, an old Surrey private collection.
VERSO: old restorer's label

Ref: 8544
This item has been sold




SOLD...Portrait of a Child c.1625; Circle of Jacob Gerritsz. Cuyp
Oil on oak panel. A beautiful, charming and sensitive portrait of a child holding a carnation; the flower signifying youth, beauty, innocence and their fleeting nature.

The sitter, obviously of an extremely wealthy family, wears fashionable clothes trimmed with expensive Italian 'reticella' lace.
The painting is by an artist who was of the period of Cuyp and much influenced by him. The pose, with its feeling of calm and stillness, and the alert intelligence of the child's eyes are typical of Cuyp's sensitive and sympathetic style.Jacob Gerritsz.

Jacob Gerritsz. Cuyp (1594-1652) was a member of the famous family of painters from Dordrecht and was particularly known for his fine paintings of children. He was the most important painter in Dordrecht at that time and influenced Lesire, Bol, Maes, Verelst and many others.
A three month retrospective of his work and influence was held June/September 2002 by the Dordrecht Museum.
The painting is in a reproduction part-gilt 'cassetta' or 'box' frame appropriate to its period and origin.


Size: 34.5 x 27 inches inc. frame
Ref: cuyp
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SOLD...Portrait of a Cornish Lady c.1700; English School
Oil on canvas in slim gilt frame.

A charming portrait typical of its period and influenced by the style of Sir Godfrey Kneller, the dominant Court and Society painter of his time.

This provincial portrait of Cornish gentry has a direct, truthful quality often missing in the work of the more sophisticated city followers of Kneller who often achieved merely a blandly fashionable image devoid of personality.
Provincial she may be, but this lady has faithfully emulated the high fashion of the Court in her hair style, the 'undress' robe and her plunging neckline.

This portrait and another of a lady (ref .8387) are from the same Cornish estate where they were for generations...possibly since they were painted. Over the centuries the identities of the sitters were forgotten and the paintings moved into obscurity in little used rooms.

SIZE: 30.25 x 25 inc. frame

PROVENANCE: by descent through a Cornish family.
Ref: 8386
This item has been sold




SOLD...Portrait of a Cornish Lady c.1700; English School
Oil on canvas in slim gilt frame.

A charming portrait typical of its period and influenced by the style of Sir Godfrey Kneller, the dominant Court and Society painter of his time.

This provincial portrait of Cornish gentry has a direct, truthful quality often missing in the work of the more sophisticated city followers of Kneller, who often achieved merely a blandly fashionable image devoid of personality.
Provincial she may be, but this lady has emulated the high fashion of the Court in her hair style, the 'undress' robe and her plunging neckline.
Also, rather amusingly, she has adopted a facial expression which one can only presume she thought was sophisticated...one eyebrow raised quizzically and a crooked smile. This wouldbe 'come hither' expression, whilst amusing, is also curiously endearing.

This portrait and another of a lady (ref .8386) are from the same Cornish estate where they were for generations...possibly since they were painted. Over the centuries the identities of the sitters were forgotten and the paintings moved into obscurity in little used rooms.

SIZE: 30.25 x 25 inc. frame



PROVENANCE: by descent through a Cornish family.

Ref: 8387
This item has been sold





SOLD...Portrait of a French Noblewoman (possibly Louise de Keroualle) c.1690; Follower of Pierre Mignard
Oil on canvas in early 19th c. frame.

Louise Renée de Penancoët de Kérouaille, 1st Duchess of Portsmouth, Countess of Fareham, Baroness Petersfield in the English peerage and Duchesse d'Aubigny in France. (1649 – 1734).
Considered by the taste of the time to be a great beauty, she became a mistress of Charles II for which service she was rewarded with titles, wealth and status; their son, Charles, was created Duke of Richmond and Lennox.
After the death of King Charles in 1685 the Duchess fell from favour in England and retired to France where she lived on her estates at Aubigny.

Louise, like Charles's other mistresses, was a 'pin-up' of her day and many versions of her portraits were sold in England and France.
Among her descendants are Lady Diana Spencer, Princess of Wales; Camilla, Duchess of Cornwall and Sarah, Duchess of York.

PIERRE MIGNARD (1610-95) French Court portraitist. All the beauties and celebrities of his day sat to him. His readiness and skill, plus his happy instinct for grace of arrangement, made him popular and his style very influential.
His portrait of Louise painted in 1682, when she made a triumphant visit to France, is in the National Portrait Gallery.

SIZE: 34.5 x 27.5 inches inc. frame.

PROVENANCE: Private Collection.
Ref: 8468
This item has been sold



 
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