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Our website was last updated on: 26 May 2017
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SOLD....Marble Portrait Bust of the Sculptor's Lover c.1925, by Janko Brayovitch.
A superb quality marble bust by Janko Brayovitch (1889 - 1947).
The sitter, Brayovitch's mistress, exquisitely carved from a large block of fine marble, is depicted with her head gracefully turned and her downcast eyes are half closed, as if in some delicious, drowsy reverie. Despite the nudity and the unquestioned erotic charge of the sculpture there is a great sense of peace and a feeling of quiet contemplation.
It is signed on the reverse of the plinth 'J. Brayovitch' accompanied by a carved circular symbol, the significance of which is not known.

Born in Montenegro, Janko Brayovitch studied at the High Academy of Sculpture in Vienna. After the First World War he emigrated to Britain, where he settled in Hampstead, London.
Many of his works were portrait busts in marble, bronze or a mixture of both.

In 1928 he was invited to Canada to sculpt the famous soldier General Burnham and his wiife. These busts were unfortunately destroyed by a fire at the General's house in 1955.
Brayovitch was also commissioned to scupt a bust of Gerald Gratan McGeer, Mayor of Vancouver and reformer of the once corrupt police force. This remains at 453 West 12th Ave. Vancouver.
A bust by Brayovitch of 1933, 'Red Indian', is in the Tate Gallery, London and featured in the exhibition 'Head to Head' in 2004.

Apart from its beauty and the consummate skill of its creation what makes this bust utterly unique is that it is of Brayovitch's lover and therefore a very intimate piece.
It was kept by her long after his death in 1947 until the 1970's, when it was sold to a collector who owned it for the last 35 years or so.

SIZE: 24.5 inches tall.
* Janko Brayovitch.
*The sitter.
*Hillersdon House nr. Cullompton, Devon.
Ref: 8585
This item has been sold

Pair of oils on canvas in elaborate gilded frames.

John Brickdale was the son of Matthew Brickdale M.P. (see portrait 8576), he was born c.1760 in West Monkton, Somerset. His grandfather, also John, and his father had a very successful drapers in High Street, Bristol. On the death of his grandfather in 1765, his father Matthew inherited the enormous sum of £100,000 and, abandoning trade, turned to politics.
John followed his footsteps.

Although the family was wealthy and his father now an MP, John wished to distance himself even further from the then perceived stigma of being in trade. Accordingly he married Anne Inglett Fortescue on 20 February 1787 in St. Gregory's Church, Dawlish, Devon. The Fortescues were an ancient landed gentry family, socially superior to the Brickdales.
The union resulted in six children.

(Interestingly, a later descendent, Eleanor Fortescue Brickdale (1871-1945) was a noted Pre-Raphaelite artist; she was so admired by the famous painter George Frederick Watts that he claimed her work to be so fine it made him want to throw away his brushes and paint no more.)

John became an MP and Deputy Lieutenant for Somerset and Devon.
In his will he left £200 to the Bristol Infirmary and £100 to that of Shrewsbury.

As he rose socially John's father Matthew had bought the manors of East and West Stoodleigh about the year 1779.
Stoodleigh Manor, the family home, lay in the hundred of Witheridge and in the deanery of South Molton, about seven miles from Tiverton.

John sold these estates, in 1819, to John Nicholas Fazakerly, Esq., M. P.
The ancient house was demolished in 1881 and replaced by the Victorian Gothic Stoodleigh Court, now an hotel.

HENRY SINGLETON (1766 - 1839) was born in London, England on 19 October 1766. He died in London, at the house of a friend at 7 Kensington Gore, on 15 September 1839, and was buried in the church of St Martin-in-the-Fields, London.

Singleton exhibited at the Royal Academy, between 1784 and 1839, approximately 300 works, a large proportion of which were portraits, He was for many years the oldest living exhibitor at the Royal Academy. His works were also exhibited at the British Institution from 1806 and at the Society of British Artists from 1824 until his death in 1839.

From the age of sixteen, Henry Singleton worked as a professional portraitist. He attended the Royal Academy Schools from the age of seventeen and won the silver medal in 1784. His painting from John Dryden’s ode Alexander’s Feast won the gold medal in 1788. In 1793, he was commissioned by the Royal Academy to paint a group portrait of forty of the academicians.
His portrait work was always in demand... Lord Nelson, Admiral Vernon, Lord Howe, John 'Mad Jack' Fuller,Sir W. Chambers, James Northcote, Thomas Sandby, Richard Cosway and Johann Zoffany are among his portrait sitters.

In 1807 he married his cousin, William Singleton’s only daughter; the mariage was of short duration as she died in 1811.
Henry Singleton’s works are currently in the collections of: The British Museum, the Victoria and Albert Museum, the National Portrait Gallery (London), the Scottish National Portrait Gallery, Tate Britain, the Ulster Museum, and the Brighton Art Gallery.

SIZE (of each portrait) 40 x 35 inches inc. frame.
PROVENANCE: by descent.
Verso; old inscriptions. 'John Brickdale of Stoodleigh, Devon by Singleton. Painted in 1814' and 'Anne Fortescue Wife of John Brickdale by Singleton. Painted in 1814'


Ref: 8574/5
This item has been sold

SOLD....Pair of Portraits of John and Jane de Carteret 1750s: Attributed to Hamlet Winstanley.
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".

Ref: 8646/7
This item has been sold

Oil on canvas of Anne Babington of Rothley Temple, Leicestershire, painted in 1645 during the Civil War (1642–1651).
Inscription upper right 'Aet. 29. Ano 1645' (Aged 29 in 1645).

ANNE BABINGTON (born Anne Hopkins) was born in 1615, youngest daughter of Sampson and Jane Hopkins, marrying Matthew Babington in 1634. She bore her husband twelve children of whom seven survived; her last was still born and she died with the child.
A poignant monument to the Babingtons in Rothley Parish Church commemorates her death. Touchingly, the effigy of Matthew reaches across a skull to hold Anne's hand, symbolising a love greater than death.

There are many other monuments to the family, as Rothley was home to the Babingtons from the 1560s to 1893 when ownership of their house Rothley Temple passed to the Merrtens family. The house still stands, now known as Rothley Court, it has been an hotel since 1960.
Rothley Temple originally belonged to the Knights Templar from 1203, then the Knights Hospitaller until their supression in the 1560s.

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt. His influence in England was considerable.

SIZE: canvas 44 x 39 inches
PROVENANCE: by descent through the Babington family.

Ref: 8586
This item has been sold

SOLD....Pair of Portraits of Thomas Papillon and Jane Brodnax c.1650; Attributed to Robert Walker
Pair of oils on canvas in period giltwood frames.

Almost certainly painted to celebrate the betrothal of the sitters prior to their marriage in 1651.

Of Huguenot stock, THOMAS PAPILLON (1623-1702) was born at Roehampton House, Putney, on 6 September 1623, son of David Papillon, architect and military engineer, and his second wife Anne Marie Calendrine. He was one of seven children, and educated at Drayton School, Northants.
He was articled to Thomas Chambrelan, a London merchant, in 1637, serving his apprenticeship for the Marcer's company until 1646.
In February 1648 he was imprisoned in Newgate by order of the House of Commons because of his Royalist sympathies.

For the next twenty years he concentrated on his mercantile activities having married Jane Brodnax, member of an ancient Kentish family of minor gentry status, in 1651 in Canterbury Cathedral. in 1666, as he prospered, he bought an estate, Acrise Place in Kent.
His rise in the following years was dramatic...Master of the Mercer's company, Deputy Governor of Eastland Co., councilman, alderman, Freeman of Dover, Commissioner for Assessment Kent, Dover and London, Bridgemaster for London, Deputy Lieutenant for London and Kent, Director of the East India Company, Commissioner for Trade....he was also Member of Parliament for Dover from 1674 to 1685 when he was an active in the Cavalier Parliament, serving on 65 committees and making about 20 speeches.

He was prominent in the indictment of Lord Shaftesbury and as a Whig he caused the Lord Mayor of London and all the Tory alderman to be arrested to answer a writ for falsification of return.
However, he was sued for false and malicious arrest by the Mayor and was ordered to pay the enormous fine of £10,000 in damges. In 1685 he fled to France, where he remained in voluntary exile until the accession of William III in 1689.
On his return he continued his brilliant career being re-elected for Dover then for London.
He was painted by Sir Godfrey Kneller, Court Artist, in 1698. (Portrait now in the National Portrait Gallery).
He died on 5 May 1702 aged 79 and buried at Acrise, Kent with his wife.
His book 'Memoirs of Thomas Papillon, of London, Merchant (1623-1702)' is still available.

JANE BRODNAX (also Broadnax) 1627 - 1698, was the daughter of Thomas Brodnax of Godmersham, Kent and Jane James, and was christened at Ightam, Kent. She was the great-grand-daughter of Jean Desmaistres, of whom her husband was great-grandson on his mother's side.
Initially both sets of parents objected to the marriage.
Jane bore Thomas eight children and died aged 72 and was buried in Acrise, Kent.
Her epitaph reads: "A truly pious Christian; A sensible Woman; A devoted and loving Wife; An affectionate Mother; A kind and considerate Friend".

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: (Thomas) 35.75 x 29.5 inches inc. frame.
(Jane) 34.75 x 29 inches inc. frame.
PROVENANCE: English Private Collection.
Verso: old labels 'Hampton and Sons, 8 Pall Mall East, London.'
Old label with information on the the Papillon, Ward, Hunt and Ward-Hunt families.

Ref: 8597
This item has been sold

SOLD....Portait of Bettine Goldberg 1955, by Wolf Craig Hainisch.
Oil on canvas in original carved frame; signed and dated lower left "W. CRAIG-HAINISCH/1955".

A superb portrait, utterly redolent of its period, the sitter, in an evening gown, elegantly holds a red rose...symbol of beauty and love.
This glamorous image of the society beauty Bettine, married to Geoffrey Goldberg, was the second time Hainisch had painted her; the first time, in 1939, was as an entrancing young woman in a daring blue evening gown.

WOLF CRAIG HAINISCH was a famous society artist of the 30s, 50s and 60s. A German, he lived and worked in London; he had originally come to England as a prisoner of war during the First World War when he was confined on the Isle of Wight.

Amongst others Hainisch painted the King of Jordan, the Queen Mother of Jordan and Victoria Fitz-Gerald (nee Villiers) wife of the 28th Knight of Glin.

SIZE: canvas 36 x 32 inches.
framed 43.25 x 39 inches.
PROVENANCE: by direct descent from the sitter.
Ref: 8563
This item has been sold

SOLD....Portrait of a Young Lady c.1740; Attributed to Joseph Highmore
Oil on canvas in a carved giltwood frame.

JOSEPH HIGHMORE (3 June 1692 – 3 March 1780) was a British portrait and historical painter.

Born in London in 1692, he displayed early a strong ability, particularly for the fine arts, which was discouraged by his family, who rather saw him as a solicitor. However, all his spare time was dominated by his favourite pursuit and, upon the ending of his clerkship at the age of seventeen, he abandoned law and resolved to trust in future to his talents as a painter alone for his chance of fame and fortune.

His gamble paid off and he continued to improve his reputation and upon the revival of the Order of the Bath in 1725, he was selected to paint the knights in full costume. The years 1732 to 1734 were spent on a tour of the Netherlands and France and on his return to England, he applied himself to perfecting his talent, which continued for the next 50 years of his life, until his death.

SIZE: 30 x 25 inches canvas size.
This item has been sold

SOLD....Portrait of Elizabeth Butler, Countess of Chesterfield(?) c.1660; Circle of Lely.
Oil on canvas, mounted on board, in giltwood frame.
Thought to be Elizabeth Butler, Countess of Chesterfield, this is an attractive portrait of an atractive young woman of the Restoration period.
Certainly the sitter does bear a resemblance to Elizabeth Butler as depicted by Lely in a three-quarter length portrait owned by the Chevening Trust.

Lady Elizabeth was born at Kilkenny Castle, Kilkenny, Ireland on 29 June 1640, the eldest daughter of James Butler, 1st Duke of Ormonde and Lady Elizabeth Preston.

She married Philip Stanhope, Earl of Chesterfield some time before 25 September 1660. He was one of the lovers of the notorious Barbara Villiers, mistress of King Charles II of England. There were many at court who believed Barbara's first child, Anne, bore a strong resemblance to Chesterfield. His first wife was Lady Anne Percy, daughter of Algernon Percy, 10th Earl of Northumberland; however, she had died on 29 November 1654 without having produced surviving children.

Together Elizabeth and Chesterfield had one daughter, Lady Elizabeth Stanhope, later Countess of Strathmore, although the child's paternity was in doubt. According to Samuel Pepys, theirs was a marriage of convenience, but Chesterfield, despite his own past conduct with Barbara Villiers, became jealous when rumours spread that his wife was having affairs with both James Hamilton and James, Duke of York, with whom she is said to have been caught in flagrante. On the other hand, he describes Elizabeth as "a virtuous lady".

The Chevalier de Grammont, in his memoirs, says of Elizabeth that, "she had a most exquisite shape, though she was not very tall: her complexion was extremely fair, with all the expressive charms of a brunette: she had large blue eyes, very tempting and alluring: her manners were engaging: her wit lively and amusing; but her heart, ever open to tender sentiments, was neither scrupulous in point of constancy, nor nice in point of sincerity."

In May 1663, the couple went to live at Bretby in Derbyshire. It was around this time that their daughter, Elizabeth was born.

The Countess died in July 1665 shortly after her 25th birthday and was buried on 18 July 1665 at Wellingborough, Northamptonshire. It was rumoured that she had been poisoned by her jealous husband.

Her daughter, Lady Elizabeth (May 1663- 24 April 1723), who was a child of two years at the time of Elizabeth's death, later married, in 1691, John Lyon, 4th Earl of Strathmore and Kinghorne, by whom she had 10 children. Elizabeth Bowes-Lyon, Queen consort of George VI, was one of her many descendants.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 18 x 15 inches canvas
23 x 20.25 inches inc. frame.
PROVENANCE: Cheshire Private Collection
Ref: 8573
This item has been sold

SOLD....Portrait of Lancelot Andrewes c. 1750; English School.
Oil on canvas in a 19th c. gilt frame.

A good quality portrait of a gentleman of the George III period; he looks intently and seriously past the viewer.

The portrait is of Lancelot Andrewes, a prosperous draper from Cheapside whose daughter Mary married in 1753 Edmund Keene.
It has passed by descent through the Ruck-Keene family.
The Rucks are descended from a family of German bankers who moved to England in the 1500s and settled in Suffolk.

SIZE: 27 x 22.5 inches inc. frame.
PROVENANCE: by descent.
Ref: 8630
This item has been sold

SOLD....Portrait of a Boy and his Dog c.1720; attributed to Joseph Highmore
Oil on canvas in fine quality period carved and giltwood frame.

This attractive portrait of a boy and his dog has the quality and style one expects from Highmore's work.
The dog, although probably the boy's pet also symbolises fidelity, trust and loyalty.

JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.

Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.

Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.

Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.

SIZE: 36.25 x 31 inches inc. frame.
PROVENANCE: English Private Collection
Ref: NP104
This item has been sold

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