home   ●  about us   ●  latest stock  ●  view all   ●  delivery   ●  testimonials   ●  contact us  
Our website was last updated on: 30 July 2015
first   «   16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25   »  last

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
This item has been sold

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
This item has been sold

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
This item has been sold

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
This item has been sold

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.

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

SOLD....Portrait of Mary Dowdeswell c.1695; by Michael Dahl
Oil on canvas in feigned oval within rare William Kent architectural carved and gilt frame c.1740, the sides decorated with finely carved oakleaves and acorns. The reverse of the frame bears old dealer's labels with the name of the sitter, the provenance and an erroneous attribution to Highmore.

The DOWDESWELLS are an old Gloucestershire family where they lived at Pull Court near Tewksbury from the 15th to the 19th century.
In the 19th c. the house was sold and is now a school.

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.
At his best he was a finer portraitist than any of his contemporaries, with a softer and more gentle technique than Kneller's, which was especially suitable for his portraits of women.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here Mary looks out at the viewer with a quiet and intelligent good humour...in every way this is a superb painting.

Size: 35.25 x 26.75 inches canvas size.
43 x 34.75 inches inc. frame.

Provenance: by descent through the Dowdeswell family of Pull Court.
with Frost and Reed of St. James's, London.
with Anderson Galleries, Chicago.
American Private Collection.
(Verso: old dealer's labels).

Ref: 8358
This item has been sold

SOLD....Portrait of Mary, Duchess of Ormonde c.1695, by Michael Dahl
Oil on canvas in well carved giltwood frame, inscribed upper left 'Dutchess of Ormond' (note 18th c. spelling).

LADY MARY SOMERSET, DUCHESS OF ORMONDE (1665 - 1733) was the daughter of Sir Henry Somerset, 1st Duke of Beaufort, and Mary Capel. She became the second wife of James Butler, Duke of Ormonde, on the 3rd of August 1685.
The poet Dryden dedicated a shamelessly flattering poem to her in the preface of his translation of Chaucer's 'Knights' Tale'.

When her husband was exiled Mary lived at Ormonde House, Chelsea from 1720 until her death in 1733.

The Ormondes had two children; Elizabeth, who died unmarried in April 1750 and Mary, who married the 1st Earl of Ashburnham in October 1710.

James Butler, 2nd Duke of Ormonde (April 29, 1665 - November 16, 1745), Irish statesman and soldier, was born in Dublin and was educated in France and afterwards at Christ Church, Oxford.
He was a gallant cavalry commander in his youth and rose to become Captain-General of the Army and Viceroy of Ireland.
However, in 1715 he became involved in the Jacobite Rebellion and had to flee to Spain. His immense estates were confiscated by the Crown.
Towards the end of his life he resided much at Avignon, refusing all attempts at reconciliation with the Hanoverian monarchy. Ormonde died on 16 November 1745, and was buried in Westminster Abbey.
The Duke was one of the great figures of his time; handsome, dignified, magnanimous and open-handed, he enjoyed great popularity.

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'. Dahl was a favourite of the Duke of Ormonde and painted for him several times.

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: 37.5 x 32.5 inches inc. frame

Interestingly, the intensity of the green of the Duchess's robe changes according to the lighting...ranging from the strong green seen in these images to a darker brown-green.
PROVENANCE: for many years in a Somerset Private Collection
Ref: GM101
This item has been sold

SOLD....Portrait of Mary, Queen of Scots, Manner of Federico Zuccaro.
Oil on canvas in a 17th century Italian ebonised and parcel gilt frame with gold lettering 'Mary Queen of Scots. Zuccaro'. To the left of the sitter the faint inscription 'A.D. 1561. Aetatis 19'.

This beautiful portrait is in the manner of Federico Zuccaro, in it the queen wears magnificent jewels and a gold and silver encrusted dress to emphasise her royalty, wealth and power. The quality of the painting of this opulence is superb, and contrasts perfectly with the sensitive depiction of the sitter's youthful face.

This image dates from the late 17th or early 18th century when, after the Stuarts came to power with the accession of Mary's son James I, a process of history rewriting took place.
Mary had been called an adulteress and traitor by the English and was beheaded for plotting to assassinate her cousin Elizabeth I,but under the Stuarts she was presented as a beautiful and religious princess unjustly executed for her Catholic faith.

All through the 17th c (and later) portraits of Mary were created; this one shows her, rather idealised, at the age of 19 in 1561 when she returned to Scotland after the death of her husband King Francis II of France.

MARY, QUEEN OF SCOTS (born as Mary Stewart and known in French as Marie Stuart; 1542 – 1587), was Scottish queen regnant from 14 December 1542 to 24 July 1567. In the lists of Scottish sovereigns, she is recognized as Mary I. (Not to be confused with Mary I of England.) Her great-great-granddaughter was Mary II of England.
She was the only surviving legitimate child of King James V. She was six days old when her father died and she was crowned nine months later. In 1558, she married Francis, Dauphin of France, who ascended the French throne as Francis II in 1559. Mary was not Queen of France for long; she was widowed on 5 December 1560. After her husband's death, Mary returned to Scotland, arriving in Leith on 19 August 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley. Their union was unhappy and in February 1567, there was a huge explosion at their house, and Darnley was found dead, apparently strangled, in the garden.
She soon married James Hepburn, 4th Earl of Bothwell, who was generally believed to be Darnley's murderer. Following an uprising against the couple, Mary was imprisoned in Loch Leven Castle on 15 June and forced to abdicate in favour of her one-year-old son, James VI. After an unsuccessful attempt to regain the throne, Mary fled to England seeking protection from her first cousin once removed, Queen Elizabeth I, whose kingdom she hoped to inherit. Elizabeth ordered her arrest because of the threat presented by Mary, who had previously claimed Elizabeth's throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in the Rising of the North. After 19 years in custody in a number of castles and manor houses in England, she was tried and executed for treason for her involvement in three plots to assassinate Elizabeth.
When Elizabeth died childless in 1603, Mary's son James VI of Scotland became James I of England. (James was a descendant of Henry VII of England through his great-grandmother Margaret Tudor, older sister of Henry VIII.)

FEDERICO ZUCCARO, also known as Federico Zuccari (c. 1542/1543 - July 20, 1609), was an Italian Mannerist painter and architect, active in Italy and other European countries.
In 1574 he came to England, where he received commissions to paint the portrait of Queen Elizabeth, Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard, and others.

SIZE: 36 x 32 inches inc. frame
PROVENANCE: Niel Rimington Collection, Fonthill
Old Abbey, Tisbury, Wiltshire

Verso: old hadwritten label 'Sir T..... H. Stev...'
Ref: 8532
This item has been sold

SOLD....Portrait of Matilda Marryat 1843; by Richard Buckner.
Oil on board in period gilt frame. Signed and inscribed 'Rome' lower left.

This beautiful portrait of the Hon. Matilda Marryat and her pet spaniel was painted in Rome in 1843 and is a fine example of Buckner's work, being not only an image of a lovely young woman but also a charming portrait of her spaniel and the items on the table are a still life.

Buckner's great talent is demonstrated by his use of, to use a photographic term, 'soft focus'. Matilda's face is the most 'in focus' part of the painting, the items on the table and the spaniel less so, and the background is merely suggested in an almost abstract way...the wall, column and view from the balcony are depicted with a painterly delight in the use of paint in a very free way.
All this causes us to focus on the sitter's face and only then to become aware of, and enjoy, the rest of the painting.
"His best work has a breathtaking quality" ('The Dictionary of Portrait Painters in Britain' by Brian Stewart and Mervyn Cutten.)

THE HON. MATILDA SOMERSET, (born in 1815, died in 1890) , was the daughter of General Lord Robert Edward Henry Somerset and the Hon. Louisa Augusta Courtenay, the daughter of William Courtenay, 2nd Viscount Courtenay of Powderham Castle and Frances Clack.
Lord Somerset was born on 19 December 1776 at Caldicot Castle, Monmouthshire, Wales. He was the son of Henry Somerset, 5th Duke of Beaufort and Elizabeth Boscawen.

Matilda married Horace Marryat, the famous travel writer, and brother of Captain Frederick Marryat, the naval officer, novelist, and a contemporary and acquaintance of Charles Dickens, noted today as an early pioneer of the sea story.

RICHARD BUCKNER (1812 - 1883) was an English painter. He first worked from a studio at his family home in Rumboldswhyke, near Chichester.
After a short spell in the army, he went to Rome where he studied under Giovanni Battista Canevari (1789-1876). He set up a studio there and quickly earned a reputation not only for his elegant portraits (e.g. Lady Charlotte Guest and her Daughter, priv. col., see Stewart and Cutten, p. 36) but also for his delicate watercolours of Italian peasants.
His work attracted the attention of important patrons including Queen Victoria and her husband Albert of Saxe-Coburg-Gotha, Prince Consort; Edward, Prince of Wales; Adelaide, Duchess of Saxe-Meiningen ( fl 1860s), and William Alexander, 11th Duke of Hamilton.
Maas considers him one of the most cultivated of Victorian portrait painters "He was one of the few portrait painters of the 19th century whose work could hold its own when hung in country houses alongside the work of Reynolds and Gainsborough".

SIZE: 34.5 x 29 inches inc. frame.
PROVENANCE: The Collection of a Titled Lady, East Sussex.
VERSO: Old handwritten labels:-
"Matilda Marryat, daughter of Ld. ** Somerset. d.1890 aged 85."
"Mrs. Horace Marryat painted by R. Buckner at Rome AD 1843."
Ref: 8659N
This item has been sold

first   «   16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25   »  last