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Our website was last updated on: 30 August 2014
 
SOLD ITEMS
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SOLD....Portrait of Thomas Oxenden 1603; Circle of Marcus Gheeraerts the Younger
Oil on oak panel, inscribed 'Ano. dni/ 1603. Aetatis 7'.
The painting is contained within an excellent reproduction of the part-gilt 'cassetta' or box frame fashionable from c.1560 - 1635.

A charming and sensitive portrait of the seven year old Thomas Oxenden; obviously of an extremely wealthy family, the boy wears fashionable clothes trimmed with expensive Italian 'reticella' lace.
The painting is by an artist of the period of Gheeraerts and much influenced by him. The pose, with its feeling of calm and stillness, and the alert intelligence of the sitter's eyes, suggest the artist took a much more insightful view of the sitter than was common at the time.

The OXENDEN FAMILY of Kent (with cadet branches in Warwickshire and Northamptonshire) are one of our oldest county families and, in the 17th and 18th centuries, owned several estates including Deane Manor near Wingham and Broome Park near Canterbury. The main Kent branch achieved a baronetcy in the mid 17th century.

MARCUS GHEERAERTS THE YOUNGER (1562-1636) was one of the leading fashionable portrait painters of his age. Born in Bruges, died in London.
He came to England with his father in 1568 at the age of seven and remained here all his life. His great patron was Sir Henry Lee of Ditchley for whom he painted, in 1592, the famous Ditchley portrait of Queen Elizabeth. Later he became Court Painter to James l; eventually his fashionable vogue waned and country gentry became his best patrons.

SIZE: 32.5 x 27.5 inches inc. frame


PROVENANCE: Hertfordshire Private Collection.
Ref: 8390
This item has been sold





SOLD....Portrait of Thomas Robinson; 17th c. English School
Oil on canvas in good quality 18th c. carved and giltwood frame; the sitter painted within a feigned oval.

Bears the inscription 'Thomas Robinson of Rookby Park in the County of York Esq' below the Robinson coat of arms.
To the bottom left the numeral '4' (probably an old inventory number). Upper left, faintly visible, another Robinson armorial bearing, painted over.

Before buying Rokeby from Sir Thomas Rokeby in 1610 the Robinsons lived for generations at the White Hall, Kendal. Rokeby Park (which is actually just across the Yorkshire border in County Durham) was rebuilt in the 18th c. as a Palladian mansion.
In the 19th c. Sir Walter Scott wrote his epic ballad 'Rokeby' there.

THOMAS ROBINSON was born in 1590, son of William and Mary Robinson (daughter of Thomas Hill of Thornton, Yorks). He had a brother John (who became Vicar of Burminster, Yorks) and a sister Catherine (who married firstly Percival Philips and secondly Richard Smith).
Thomas married at Rokeby in 1621, his wife was Francis, daughter of Leonard Smelt of Kirkby Fleetham, Yorks; they had eight children.
Thomas was a barrister and in the Civil War he supported Parliament, believing right was on their side.
At his own expense he raised the Private Parliamentary Army; in June 1643 he was killed by the Royalists in a skirmish at Leeds. Presumably this was in the build-up to the Battle of Adwalton Moor near Leeds on June 30 when the Earl of Newcastle's army smashed the Parliamentary forces under Sir Thomas Fairfax.

SIZE: 36.5 x 31.75 inches inc. frame

CONDITION:In good uncleaned 'country house condition' with a soft, mellow colour caused by the slight yellowing of the old varnish. Old relining, some small areas of old retouching to forehead and the left of the breastplate. Moderate craqueleure.

PROVENANCE: by descent through the family
VERSO: old label 'John Perfect Esq, Bovevagh, Great Missenden, Bucks'.

Height: 36.5 in. (92.71 cm)
Width: 31.75 in. (80.64 cm)


Ref: 8504a
This item has been sold





SOLD....Portrait of William Murray, Marquess of Tullibardine c.1715: French School.
Oil on canvas in a giltwood 18th century frame.
Traditionally identified as William Murray, Marquess of Tulibardine, the sitter wears a breastplate with his elaborately gold laced clothing, the uniform of a high ranking officer; he smiles confidentally at the viewer whilst resting his left hand on a cannon...he was said to be "passionate, head-strong, a bright blazing man whose eyes shone with the fire of his convictions".

Fighting in both the 1715 and 1745 Jacobite Rebellions his life was to be one of exile and finally imprisonment. This portrait was probably painted in France during Murray's exile.

WILLIAM MURRAY, Marquess of Tullibardine was born on 14 April 1689 at Edinburgh, Midlothian, Scotland. He was the son of John Murray, 1st Duke of Atholl and Lady Catherine Hamilton.
He matriculated at St. Andrews University, St. Andrews, Fife, Scotland, on 25 January 1706.
He was styled as Marquess of Tullibardine between 1709 and 1715.
The House of Atholl was irretrievably divided over the rebellion, with Murrays on both sides; for the government there was the Duke, and his second son, Lord James Murray. For the Jacobites there were the three other sons, Lord Charles, Lord George, and the heir, William, Marquess of Tullibardine. As the eldest son he would have inherited the Dukedom of Atholl but in August 1715 he joined the Rising for the restoration of the House of Stuart.
Tullibardine actually took Blair Castle, his ancestral seat, by force, with 500 men, from his own brother. He accompanied the Pretender into Scotland, and was intimately identified with his cause.
On 17 February 1715/16 he was attainted, and convicted of treason, but escaped to Brittany.

On February 1716/17 his friend James Stuart, the Old Pretender, created him Marquess of Blair, Viscount Glenshie, Earl of Glen Tilt, Duke of Rannoch and Lord Strathbran: (all Jacobite titles and virtually meaningless) as he had lost his right to the Dukedom of Atholl by Act of Parliament after his treason against the House of Hanover.

He fought in the Battle of Glenshiel on 10 June 1719, where he was defeated. He then escaped, although £2000 (a vast sum at the time) was offered for his capture. In the Jacobite Rebellion of 1745, although ill, he fought in the Battle of Culloden, where, after the defeat of Bonnie Prince Charlie's forces, he surrendered himself to William Buchanan of Drumakill, presenting him with his claymore. (See image 10 of page 47 from the book 'Culloden: The Swords and the Sorrows'. This book accompanies the portrait.)
On 21 June 1746 Murray was committed to the Tower of London where he died in July, and is buried in the chapel of the Tower.

SIZE: 53.25 x 43.25 inches inc. frame.
PROVENANCE:Private Collection, Leicestershire.
Private Collection, North Yorkshire.
VERSO:- 2 labels dated 1965. Cleaned and partially restored by W. Freeman and Son Ltd, 43/44 Albermarle Street, London W1. National Portrait Gallery report dated January 1965:French origin, c.1708.

Image 11 shows Blair Castle, ancestral seat of the Dukes of Atholl.
Ref: 8767
This item has been sold





SOLD....'The Shepherdess of the Alps' by Thomas Gaugain
Oil on canvas in 18th c. giltwood frame (probably the original), 19th c. strengthening to the back.

Thomas Gaugain (c.1756-c.1805) was born in Abbeville, France. Moving to England, he entered the RA Schools in 1771; he exhibited at the Royal Academy seven times between 1778 and 1782 (this painting was exhibited in 1779).
Gaugain became very successful with his portraits and fashionable paintings of the latest novels and plays; he also created engravings for those who could not afford an original (Hogarth had done the same).

This charming image illustrates a scene from Marmontel's play 'The Shepherdess of the Alps' which became the rage in England and France and inspired many paintings and prints. It tells the tragic story of a forbidden love affair between two young French aristocrats. In spite of their family's objections Adelaide and her lover, the Count d'Orestan, run away together; but their happiness is short lived when the count tragically dies.
A grief stricken Adelaide renounces the world and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.

Size: framed 31.75 x 38.5 inches
unframed: 25 x 31.5 inches


Provenance:
Verso; an early 20th c. label from the famous dealer Roger Warner of Burford whose collection once held this painting:-
'I am of course prepared to assure your client positively that his Gaugain is an original and not a copy. Apart from the fact that I am not quite unknown myself in connection with such matters, in the course of the last few years it has been seen by a considerable number of well-known authorities in my house.....Humphrey Brooke, Secretary of the R.A. expressed the view to me that it should have been included on the Exhibition of the First 100 Years of the R.A. It is both painted and engraved by Gaugain'.

A Cheltenham Private Collection

NOTE: PRICE DOES NOT INCLUDE SHIPPING
Ref: 8385
This item has been sold





SOLD....Triple Portrait of Sisters c. 1795/1805; Circle of Hoppner
Oil on canvas in ebonised and gilded frame.

A beautiful portrait of three sisters with their pet dog, its puppy and a doll. Seated on a fashionable chaise longue with a garden visible in the background, the older sister puts her arm protectively around her youngest sibling whilst the other girl turns her head to look directly at us...even the doll seems to look towards us! Meanwhile the dog looks at its puppy which rests happily, and rather plumply, on the middle sister's lap.
A peaceful and happy scene from the Late Georgian period, even though the painting is a large one the artist captures a sense of intimacy.

With Gainsborough and Reynolds, JOHN HOPPNER (1758 - 1810) was one of the leading portrait painters in late eighteenth-century Britain. He entered the Royal Academy Schools in 1775, where he won a Gold Medal in 1782. His rapid rise was accompanied by rumours (never denied by Hoppner) that he was the illegitimate son of the future King George III, and it is true that in his education and early career Hoppner benefited from a considerable degree of royal sponsorship. He was brought up as a child of the Chapel Royal, tutored in the Royal Library where King George paid great attention to his progress, and finally presented him with an allowance in order that he might establish himself as a painter.

By the late 1780s Hoppner was a regular contributor to the Royal Academy exhibitions and quickly established himself as a fashionable portrait painter. In 1789 he succeeded Reynolds in his appointment as painter to the Prince of Wales in 1789, many of whose circle he painted.

Though his early works display a great debt to Reynolds, Hoppner soon developed an individual style that is distinguished by vivacity and a strong feeling of character. These works show a deliberate move away from the classicism of Reynolds, towards a more emotionally engaging and naturalistic image. Hoppner’s success is evident by the fact that he became the only serious rival to Lawrence, and with him was responsible for painting the finest Romantic portraits of the Regency period.

SIZE: 47.5 x 63.5 inches inc. frame.
PROVENANCE: English Private Collection.
VERSO: Two old labels for paintng restorers and framers in London and Bury St. Edmunds.
Ref: 8642
This item has been sold





SOLD...Charles l; after Van Dyck
Oil on canvas, a good 19th c. copy of the famous triple portrait by Van Dyck.

The original, painted in 1635, was sent to Rome in order that the noted sculptor Bernini had an accurate image from which to sculpt a marble bust of the monarch.
The painting now belongs to Her Majesty Queen Elizabeth ll. The bust was destroyed in the fire which severely damaged Whitehall Palace in 1698.

Size: 40 x 50.5 inches inc 19th c oak frame.



Provenance: a Somerset Private Collection.

NOTE: PRICE DOES NOT INCLUDE SHIPPING.

Ref: 8380
This item has been sold





SOLD...Double portrait of King Charles I and Queen Henrietta Maria; After Van Dyck
Oil on canvas in period black and gilt frame.
The sitters are Charles Stuart, (son of James I and Anne of Denmark) and his wife Henrietta Maria, (sister of Louis XIII of France and daughter of Henri IV and Marie de' Medici).

A good 18th-century copy after the famous 17th c. original attributed to the School of Van Dyck in the Pitti Palace, Florence.

(See M. Chiarini & S. Padovani, 'La Galleria Palatina e gli Appartamenti Reali di Palazzo Pitti: Catalogo dei Dipinti', Florence 2003, p. 162, cat. no. 256, reproduced).

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: 29.5 x 35.5 inches inc. frame.
PROVENANCE: Italian Private Collection.









Ref: 8480
This item has been sold





SOLD...Double portrait of two boys c.1740; English School
Oil on canvas in period carved and giltwood frame.

This charming double portrait is full of symbolism easily understood by the 18th century viewer; it depicts two brothers in the mythological land of Arcady or Arcadia. For some time it had been very fashionable, for adults as well as children, to be depicted as shepherds.
The lambs are a traditional symbol of innocence and virtue, in which guise they fit perfectly into Arcadia, the land from which all guilt and sin have been banished.
The dog represents loyalty and obedience, character traits considered desirable in the young.
The bird represents the transience of life, and especially youth, as it can easily fly away.
As guardian of the flock, the older brother holds the shepherd's crook and his arms are protectively around the younger boy.

The artist is an unknown provincial; although he has been influenced somewhat by the fashionable portrait painter Charles Jervas his style has a direct, rather naive quality which has great appeal. Double portraits of children are most uncommon and this one pleases in several ways..not least in the amusing depiction of the fluffy lambs!

SIZE:50.5 x 41.75 inches inc. frame
PROVENANCE: For many years the property of a recently deceased noted collector in Bath, Somerset
Ref: 8518
This item has been sold




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.
This item has been sold





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
This item has been sold



 
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