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SOLD ITEMS
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SOLD....Portrait of Lady Anne Cecil c.1635; Circle of Van Dyck
Oil on canvas in good quality 17th c. carved and giltwood frame.

LADY ANNE CECIL, COUNTESS OF NORTHUMBERLAND was born 1611/12 and baptised in the Chapel Royal, Whitehall, London. She was the daughter of William Cecil, Earl of Salisbury and Lady Catherine Howard. Anne married Algernon Percy, Earl of Northumberland before 1630 (date not known exactly) and bore him five daughters.
The portrait is unusual in that the sitter is clearly pregnant, her hand resting protectively across her belly. This well observed gesture exemplifies the greater interest in naturalism found in English paintings of the early 17th century.
The portrait is a symbol of the hope and need of these two great families for a male heir to the Earldom of Northumberland. Alas, no son was born and Anne, Countess of Northumberland died in December 1637 aged 26.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE:47 x 39.5 inches inc. frame.

PROVENANCE: for many years in a Cheshire Private Collection.

A head and shoulders version of this portrait is at Lennoxlove House in the Collection of the Duke of Hamilton.
At Burghley House, ancestral home of the Cecils, is a beautiful portrait by Van Dyck of Lady Anne before her marriage.







Ref: 8394
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SOLD....Portrait of Lady Anne Fitzroy, Countess of Sussex c.1665; Studio or Circle of Lely
Oil on canvas in fine quality 18th c. carved and giltwood frame.
Inscribed lower right 'Lady Anne Fitzroy, Countess of Sussex'

LADY ANNE FITZROY was the natural daughter of King Charles II and Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland; they had spent the Coronation night together and Lady Anne was born nine months later. The King acknowledged the child and granted her the Royal Arms with a baton sinister.
In 1674, aged 13, Lady Anne was married to Thomas Lennard, 15th Baron Dacre (created Earl of Sussex for the occasion); the wedding and dowry were both paid for by the king.
The children of the union were Charles Lennard, Lord Dacre (1682-84), Henry Lennard (died only months old), Lady Barbara Lennard (1676-1741), Lady Anne Lennard, Baroness Dacre in her own right (1684-1755).
The Earl and Countess separated in 1688. Lady Anne died in 1722 and her husband in 1715.


SIR PETER LELY (1618-80) was the dominant portraitist of the reign of Charles II. Principal Painter to the King, he painted everyone of importance at the time.
Lely himself was influenced by Van Dyck, upon whose style he based his own.

In this portrait the pose is very similar to that used by Van Dyck for the youngest child in his portrait of 1635 'The Three Eldest Children of Charles I', but here, rather than the apple used in that painting, Lady Anne holds grapes...a symbol of future fruitfulness and fertility.

SIZE: 51.75x51.5 inches inc. frame

Verso: old label for 'Clifford Ellison. By Appointment to Her Majesty Queen Elizabeth II, Picture Restorer'

PROVENANCE: From the Estate of Brigadier Sir Edward Ford KCB, GCVO [1910-2006] (Asst. Private Secretary to King George VI 1946-52).

By descent through the family :-
The Barons Dacre;
Henry Robert, Viscount Hampden and 24th Baron Dacre;
his son Robert Henry Brand, 1st Baron Brand;
his daughter the Hon. Virginia Brand, wife of Sir Edward Ford.
Ref: MP101
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SOLD....Portrait of Lady Derwentwater, by Michael Dahl
Oil on canvas in well carved period frame, inscribed upper right 'Lady Derentwater'. (This was the way 'Derwentwater' was pronounced in Cumberland at the time; indeed, some still pronounce it this way today).

This portrait is typical of Dahl’s eloquent depiction of aristocratic women.
The sitter rests her elbow on a stone plinth and supports her head with her hand,the drapery and sitter’s turned head impart a subtle sense of movement, which, combined with the relaxed, even wistful pose helps convey a feeling of tranquillity.
The veil on Lady Mary's head is a feature often used by Dahl, e.g. his portraits of the Duchess of Ormonde, Elizabeth Felton, Lady Hervey and the Countess of Clarendon.


MARY, COUNTESS OF DERWENTWATER (1673 - 1726) was the illegitimate daughter of Charles II of England by his mistress, the actress and singer Mary 'Moll' Davis, a celebrated rival of Nell Gwynn, King Charles' London-born mistress who was also an actress. She was given the title of Lady Mary Tudor.

In the 'Masque for the Entertainment of the King', John Blow's opera 'Venus and Adonis' of 1680, Moll created the role of Venus, while her daughter, Lady Mary, sang Cupid. This was the first English opera.
Charles gave his daughter an annuity of £1500 in September 1683, and she was married to Edward, Viscount Radcliffe, later Earl of Derwentwater, in August 1687.
This prestigious marriage alliance with the ill-fated Stuarts proced to be the downfall of the Radcliffes, who, after the Glorious Revolution, were noted as the most wealthy and powerful Jacobite family in the North of England.
Two of Mary's three sons were to be executed for their parts in the Jacobite risings of 1715 and 1745. James, who died in 1716, was described as being an accomplished singer and guitarist, so perhaps he inherited this from his mother and grandmother...who appears in Lely's portrait of c.1674 playing a guitar.

After the Earl's death on 29 April 1705, Mary married Henry Graham (d. 7 January 1707) on 23 May 1705. After Henry's death she married Major James Rooke (d. 16 June 1773) on 26 August 1707.
She died in Paris on 5 November 1726, shortly after her fifty-third birthday.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
This painting is typical of Dahl's sensitive portraiture and is of considerable charm.

SIZE: 38 x 33 inches inc. frame.
PROVENANCE:
*For many years in the Collection of the Seymour family of Wiltshire.
*Sold at Christie's c.1950 and bought by a Somerset family with Seymour connections.
In their possession for c.57 years.
*Then another Somerset private collection.

VERSO: old label with information on the Derwentwaters and the inscription "From The Times Octbr 13 1874. C.H. Seymour"
Ref: 8565
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SOLD....Portrait of Lady Lucy Pelham by Cornelius Johnson
Oil on canvas in good quality carved and silver-gilt 17th c. Lely-panel frame.
(Although now rarely seen, at one point in the seventeenth century silver-gilt frames were very fashionable; Samuel Pepys had all his paintings framed so.)

This beautifully painted portrait is a fine example of Johnson's work...the material almost tangible in its realism, and, in this portrait in particular, the sitter's face depicted with great talent and sensitivity.
As one of Johnson's later works it shows the strong influence of Sir Anthony van Dyck.

LADY LUCY PELHAM born before 1631, died 1685.
She was the daughter of Robert Sidney, 2nd Earl of Leicester and Lady Dorothy Percy (daughter of the 9th Earl of Norhumberland).
In 1647, the year between the First and Second Civil Wars, she married Sir John Pelham, 3rd Baronet (born before 1627, died 1702/3), son of Sir Thomas Pelham, 2nd Bt.
Sir John was M.P. for Hastings 1645-6, M.P. for Sussex 1660-98.
They had four children:-
* Henry Pelham d. 1 Apr 1721
* Elizabeth Pelham d. 13 Jul 1723
* Lucy Pelham d. 8 Jul 1721
* Thomas Pelham, 1st Baron Pelham of Laughton b. c 1653, d. 23 Feb 1711/12

Lady Lucy Pelham was also painted by Sir Peter Lely, now in the Collection of the Earl of Yarborough (also a Pelham).

CORNELIUS JOHNSON (also known as Jonson, Jansen, Van Ceulen) 1593-1661, was born in London, the son of Flemish emigres.
Although Waterhouse thought he was trained in Holland it seems more likely (as Collins Baker has it) that Marcus Gheeraerts was his master in London.
Johnson is the most satisfying and 'English' of the portraitists working in England in the first part of the seventeenth century. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.
His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the gentry and lesser nobility. His style is easily identified by its coolness and restraint.

SIZE: 30 x 25 inches canvas size.
37 x 32 inches inc. frame.
PROVENANCE: James Thursby Pelham of Cound Hall, Shropshire; thence by descent.
(The fifth photograph shows Cound Hall)

Verso: a 19th c. inscription identifying the sitter, but confusing the names of father and son.

LITERATURE: A. Finsberg, 'A Chronological List of Portraits by Cornelius Johnson', published by The Walpole Society in 1922 (p.30, no.87, fig. LXII).




Ref: 8467
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SOLD....Portrait of Lady Margaret Mennes (born Stewart) c.1620; attributed to Cornelius Johnson
Oil on panel in a fine quality carved and giltwood frame.

This beautiful painting is, as Waterhouse wrote of Johnson's work, 'very sensitive to character and beautifully drawn and meticulously painted'.
Johnson's portraits are often within a feigned oval, as is this one.

LADY MARGARET STEWART (STUART), later LADY MARGARET MENNES, was the daughter of John Stewart, 1st and last Earl of Carrick and Lady Elizabeth Howard, Maid of Honour to Queen Elizabeth I. John Stewart was the younger son of Robert Stewart, 1st Earl of Orkney, illegitimate son of King James I of Scotland and half-brother to Mary Queen of Scots.

Lady Margaret married Sir Matthew Mennes, bearing him a daughter, also Margaret, in c.1624.
This daughter married Sir John Heath and their daughter, another Margaret, married George Verney, 12th Baron Willoughby de Broke.

CORNELIUS JOHNSON (also known as Jansen or Jonson Van Ceulen) 1593-1661 was born in London, the son of Flemish emigres.
Johnson is the most satisfying and 'English' of the portraitists working in England in the 1620s and 30s. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.
His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the gentry and lesser nobility. His style is easily identified by its coolness and restraint.

In 1632 he was made Painter to the King, but his wife's fears of the approaching Civil War caused him to retire to Holland in 1643 where he called himself Jonson van Ceulen.

SIZE: 29 x 24 inches (panel)
35 x 30 inches (frame)

PROVENANCE: Verso; 2 old remover/storers labels, both of Leamington Spa. One inscribed "No.245. Drawing Room. Customer's name: Ld. de Brooke".
Sotheby's chalk inscription "10.7.85".
It seems the portrait descended through the Willoughby de Broke family until the death of the 20th Baron in 1985 when it was sold at Sotheby's, 17 July. lot 21.

Inscribed upper left and right, also on a plaque on the frame, with an incorrect attribution to Honthorst.
Ref: 8520
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SOLD....Portrait of Lady Shepherd c. 1675; Follower of Lely
Oil on canvas in good quality carved and giltwood period frame.

A charming painting of a young woman, (possibly Lady Shepherd), typical of its period, by an artist strongly influenced by Lely.

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.
His influence on the portraiture of the period was immense.

SIZE: 38 x 33 inches inc. frame

PROVENANCE: An Oxfordshire Private Collection.
Verso: an old label 'Lady Shepherd'.
Ref: 8423
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SOLD....Portrait of Lt. Gen. the Hon. George Ramsay, by Sir John Baptist Medina
Oil on canvas in fine quality 17th century carved and silver-gilt frame. (Although now rarely seen, at one point in the seventeenth century silver-gilt frames were very fashionable; Samuel Pepys had all his paintings framed so.)


An excellent portrait of THE HON. GEORGE RAMSAY of Carriden, 3rd. son of William, Earl of Dalhousie and Lady Anne Fleming.
Born into an ancient martial family, he became famous as a gallant soldier; he fought in the Battle of Killiecrankie in 1689, where he commanded Wauchope's Regiment of Foot. He fought in the Battle of Landon, where he commanded the Scots Guards, whom he also commanded at the Battle of Steenkirk. He became Commander-in-Chief of the forces in Scotland in 1702.

Ramsay had married a lady of the Buckden family and their seat was Carriden House, Linlithgow, Scotland. They has one child, Jean.
George Ramsay died in 1705.

A three quarter length portrait of Ramsay can be seen at Drumlanrig Castle.

Mackay, in his 'Memoirs', describes him as 'a gentleman of a great deal of fire, very brave, and a thorough soldier'.

SIR JOHN BAPTIST MEDINA (1669-1710). Portrait and history painter; from a Spanish family, but born in Brussels. Knighted in Scotland in 1707. He had come to London in c.1686 and became well-known. Under the patronage of the Earl of Melville (later Earl of Leven), he moved to Edinburgh and had immense success; in fact, his success in Scotland was as great as that of Kneller in London.

SIZE: 38.25 x 33.5 inches inc. frame.
PROVENANCE: Private Collection, Sussex

Verso; old label 'Hugh Panton, Princes Street, Edinburgh'








Ref: 8477
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SOLD....Portrait of Margaret Dodding 1629; Follower of Gheeraerts
Oil on canvas in 19th century frame.
The pose used by Margaret Dodding was one much favoured by Gheeraerts and his followers and used for a long time. (see portraits of Lady Harrington 1592 and Lady Anne Ruthin 1632).
She holds a book, probably a bible, in her left hand...this signifies not only her religious nature but also her literacy and wealth. In her right hand a fashionable and very costly silver mounted ostrich feather fan.

To the right of the sitter is the faint inscription "An. 1629" and an indistinct signature or monogram, possibly "JS" or "TS".
To the left of the sitter an 18th or 19th century inscription incorrectly reads "Margaret Dodding Daughter & Coheiress of Wm. Sandys Esqr. of Graythwaite and Conishead 1569."
In fact the lady depicted in this charming Jacobean portrait is her grand-daughter Margaret; this portrait, painted in 1629, when the sitter was 23 probably celebrates her betrothal to Richard Hutton.

The Sandys family originate from Burgh-on-Sands on the Solway from where they take their name (originally Sandes).
The Augustinian Conishead Priory was founded in the 12th century. In 1537 it was seized by the crown under the Act of Suppression. A large country house was built on the site.

In 1540 the estate was granted by the King to William Stanley, Lord Mounteagle. Ownership then passed quickly through the Paget and Machell families and in 1548 to one of the early iron masters, William Sandys of Colton Hall. As Receiver General of Furness, Sandys fell victim to the antagonism towards the Crown in the region and in 1558 he was ‘very riotously murdered at Conishead’ in front of his house.

The estate then passed to the Phillipsons and later to the Dodding family. In 1638, Sarah Dodding married John Braddyll of Portfield thus conveying Conishead to the Braddylls who made it their seat for almost two centuries. Five generations of Braddyls lived at Conishead between 1683 and 1847 during which time they established themselves as one of the great local families. (The fifth image shows Conishead as it is today).

MARCUS GHEERAERTS (also written as Gerards or Geerards) ( c. 1561/62 – 19 January 1636) was an artist of the Tudor court, He was brought to England as a child by his father Marcus Gheeraerts the Elder, also a painter. He became a fashionable portraitist in the last decade of the reign of Elizabeth I.
In the Jacobean Court in 1617 Gheeraerts' position began to decline as the result of competition from a new generation of immigrants. Anne of Denmark died in 1619, and although Gheeraerts was part of her funeral procession as "Queen's Painter", the Netherlander Paul van Somer had likely displaced him as her chief portraitist some time before. For the last twenty years of his life Gheeraerts was employed chiefly by the country gentry and by academic sitters.

SIZE: 50 x 43.26 inches inc. frame.
PROVENANCE: by family descent.
Verso: a number of old labels.
Ref: 8591
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SOLD....Portrait of Marie Mancini by Jacob Ferdinand Voet
SOLD...Oil on canvas in a carved and giltwood Louis XIV style frame.

This beautiful portrait shows Voet's skill at its finest; sensitive, sensual, insightful and with a real sense of the sitter's presence.

Although the stretchers are inscribed with the name Marie Anne Mancini, Duchesse de Bouillon, the portrait is far more likely to be Marie Mancini (Anna Maria Mancini).
The name Pierre Mignard is also inscribed but the artist is without doubt Jacob Voet.

MARIE MANCINI, Princess Colonna and Vicerein of Naples and Aragon (Anna Maria Mancini; 1639�1715) was the middle of the five Mancini sisters, nieces to Cardinal Mazarin who were brought to France to marry advantageously. "Dark, vivacious and beautiful,"(Sir Oliver Millar) Marie captured the biggest prize of the French court: the love of Louis XIV.
Marie did not consummate her relationship with the Sun King. His love for her was a somewhat idealistic one, but he was so besotted that he wanted to marry. Eventually, Cardinal Mazarin and Anne of Austria separated the couple, banishing Marie into exile and arranging Louis' marriage to his cousin, Maria Theresa of Spain.
In 1661, Marie was married off to the Italian Prince Lorenzo Onofrio Colonna, who remarked after their wedding night that he was surprised to find her a virgin as one does not normally expect to find 'innocence among the loves of kings'. (from Antonia Fraser's book 'Love and Louis XIV'). They had three children, all sons. After the birth of her third child, relations between Marie and her husband deteriorated. On May 29, 1672, fearing that he would kill her, Marie left Rome accompanied by her sister Hortense.
In 1677, in order to support herself, she wrote her memoirs. She did not return to Italy until her husband's death in 1689. She died in Pisa and is buried in the church of the Holy Sepulchre there.

JACOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century. He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture. Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Voet specialized in half-length portraits, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. He was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have very striking, memorable eyes, always large and evocative.
SIZE: 17.75 x 15 inches (unframed) 23 x 21 inches inc. frame.
PROVENANCE: French private collection. Verso: red wax collector's seal, probably 18th c. Various incorrect inscriptions, most likely early 20th c.
This item has been sold





SOLD....Portrait of Mariya Andreevna Kozlovskaya 1954, by Boris Korniev
Oil on sackcloth in simple black wood frame.

Boris Korniev (Russian, 1922-1973).
Portrait of the artist's wife, Mariya Andreevna Kozlovskaya. It was this painting, exhibited in the Leningrad Summer Exhibition of 1954, that earned Boris his place as a Member of the Artist's Union.
Signed and dated '54 (in Cyrillic, lower right); inscribed verso.

MARIYA ANDREEVNA KOZLOVSKAYA (born 1925) met her husband, Boris Korniev, at the Russian Academy of Arts, Repin, where they were both students. They married in 1949 and both graduated from the Academy in 1952. In the present portrait, she wears the same clothing that she wore on her graduation day.

Mariya is herself a successful artist, having exhibited at over 100 exhibitions within Russia and abroad. She was elected to the Artist's Union in 1954. She currently lives in St. Petersburg, where she shares a studio with her son, also an artist. Mariya (also known as Marina) is regarded as one of the most talented representatives of the Leningrad School of painting.

BORIS VASIILIEVICH KORNIEV (1922-1973) In 1938 he finished at Leningrad Art School. During the World War ll (called by the Russians The Great Patriotic War) Boris served in the army being awarded many medals for gallantry.
In 1945 he attended Leningrad Art College for a year then from 1946-1952 he studied at the Repin Academy under Professor Viktor Oreshnikov; he was a pupil of Boris Fogel, Genrikh Pavlovsky, Semion Abugov and Andrey Mylnikov.
In 1949, at the Academy, Boris met and married Mariya, both graduating in 1952. Boris was awarded the Gold Medal for his Diploma painting of 1952.

There were no studios available for the newlyweds so they lived with one mother and then the other; they painted each other's portraits at this time. This portrait of Mariya was in the Summer Exhibition in 1954 where it was seen by the Director of the Artist's Union; he was so impressed with it he invited Boris to become a member.
He painted portraits, landscapes and still lifes, showing work in numerous important exhibitions including the famous 'Soviet Russia' exhibition in Moscow 1960.
Member of the LCRAU in 1954, from 1962 Boris taught at the Repin Academy, (in the last year of his life he was made Professor of the Academy), Honoured Artist of the Russian Federation 1965. His work is in the Russian State Museum at the Hermitage, St. Petersburg, the Tretyakov State Gallery and in public and private collections world wide. He died on 24 December 1973.

LITERATURE: 'Boris Korniev. Paintings. Exhibition catalogue, Leningrad: Khudozhnik RSFSR 1975.'

' Unknown Socialist Realism. The Leningrad School.' St. Petersburg: NP-Print 2007. This book is the first on the history of the Leningrad School, one of the brightest and significant phenomena in Soviet art from 1930-1980.
This portrait is reproduced full page on page 46.

SIZE: (canvas) 41 inches x 32 1/2 inches.

PROVENANCE:
Boris Korniev and Mariya Kozlovskaya;
Sold by Mariya in 2007 to Percy Barkes, UK dealer in Russian Art ;
English Private Collection.
Ref: 8534
This item has been sold



 
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