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Our website was last updated on: 13 September 2014
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SOLD....Portrait of Sir Hugh Cholmley c.1684; Attributed to Thomas Murray
Oil on canvas in fine quality 17th c. carved and giltwood oakleaf frame, bearing label "Hugh Cholmley of West Newton Grange. 16*4. Thomas Murray".

SIR HUGH CHOLMLEY (Cholmeley) 4th Bt. {1632-1690} of West Newton Grange, Yorkshire.
Born at Fyling Hall, near Whitby, Yorkshire, he was the son of Sir Hugh Cholmley, 1st Bt. and Elizabeth Twysden.

[ Sir Hugh, the first baronet, was born in 1600 in Roxby, Yorkshire. During the Civil War in 1643, as a general, he fought for Parliament before transfering his allegiance to the Royalist cause and became Governor of Scarborough Castle.]

The sitter in this portrait, Sir Hugh Cholmley, 4th Bt., married Lady Anne Compton, daughter of Spencer Compton, 2nd Earl of Northampton and Lady Mary Beaumont in 1665/6 at Hamerton, Huntingdonshire. He held the office of Governor of Tangiers, Morocco in 1665, succeeding to the baronetcy in July 1665. He was M.P. for Northampton in 1679, and M.P. for Thirsk from 1685 to 1687. He died, aged 56, at Whitby, Yorkshire.

THOMAS MURRAY (1663-1735). Born perhaps in Scotland, he was a pupil of Riley, but his better portraits, those before 1700, are very much like Closterman. He was very successful; he died rich in London in 1735.

SIZE: 38 x 33 inches inc. frame.

PROVENANCE: by descent to Piers Henry Augustus Butler, 16th Viscount Mountgarret died 1966; sold by his Will Chattels Trust in December 2010.
Prior to the sale the portrait was on long term loan to Bradford Corporation Art Gallery.

Tong Hall was one of the Tempest family's properties for 400 years until 1941.
Sir John Tempest, 1st Bt, born 1645, married Henrietta Cholmley of West Newton Grange, daughter of the sitter in this portrait, in c.1663/4.
The 13th Viscount Mountgarret married Francis Penelope Plumbe-Tempest of Tong Hall in 1844; thus the portrait of Sir Hugh Cholmley was acquired by the Mountgarrets.

VERSO: old printed label:-
"City of Bradford Corporation Art Gallery.
Cartwright Memorial Hall.
Loan number 188."

Indistinct 19th c. handwritten label:-
"**** Tempest, ***** of Ann Tempest of Tong
by Mary Tempest of Broughton(?)"

Ref: 8552
This item has been sold

SOLD....Portrait of Sir Maximilian Norris; Manner of Robert Peake
SIR MAXIMILIAN NORRIS (also known as Norreys) was a relative of Henry Norreys, Keeper of the King's Privy Purse, who was executed in 1536 for alleged adultery with Queen Anne Boleyn.

Maximilian was one of five brothers who campaigned in Ireland and on the Continent against the Spanish; he was killed fighting in Brittany in 1593.
The present representatives of the Norris family are the Berties, Earls of Abingdon.

This painting dates from c.1800 (the frame dating from that period) and is a copy of a lost 16th century original. It is typical of much Elizabethan portraiture in it's iconic feeling, use of symbolism and the fashionable poetic melancholic appearance of the sitter, who wears the 'sable harness' or black armour also in fashion at that time.

Upper right the copyist has misspelt the knight's name as 'Maximisian' and upper left has incorrectly copied the Latin inscription as 'His Aut Nullis', which should read 'Hic Aut Nullus'. One can only presume the inscriptions on the original were indistinct.
Beneath the sitter's name can faintly be discerned an overpainted inscription.

The symbolism of the hand, sword and armillary sphere is interesting.
The use of the armillary would suggest that the sitter was linked to the Court of Elizabeth l; it was much used there, especially by the Queen, as a symbol of constancy and (specifically) Protestant religious fidelity.
The sword and hand represent military valour in pursuit of these virtues and the Latin translates as 'Without this, nothing'.

ROBERT PEAKE the Elder (c. 1551 – 1619) was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I.
Peake was the only English-born painter of a group of four artists whose workshops were closely connected. The others were De Critz, Marcus Gheeraerts the Younger, and the miniature painter Isaac Oliver. Between 1590 and about 1625, they specialised in slightly 'stiff feeling' portraits that are unique to England at this time. It is not always possible to attribute authorship between Peake, De Critz, Gheeraerts and their assistants with certainty.

SIZE: 45 x 41 inches inc frame.
PROVENANCE: Collection of a Lady of Title.
Ref: 8493
This item has been sold

SOLD....Portrait of Sir Michael Earnley (Ernle) c.1640; Attributed to Adriaen Hanneman
Oil on canvas in cassetta frame.

A superb portrait of Sir Michael Earnley (Ernley, Ernle) a noted Royalist commander during the Civil War and Governor of Shrewsbury Castle.
He looks out steadfastly, holding his baton of command of high rank and wears the sash of an officer.
The artist subtly illuminates the face and shows a great sweep of light across the armour which flows round to highlight the hand resting on the hilt of Sir Michael's sword, thus giving it emphasis. The point is made that is not just a portrait of a gentleman painted in armour to show his wealth, as was fashionable... this is an insightful portrait of an experienced soldier used to command and warfare.

The senior line of the Ernle family had a seat at Whetham House, Calne, Wiltshire.
A member of the Whetham line, Sir Michael Ernle, uncle to the Chancellor of the Exchequer Sir John Ernle, was a royalist commander during the English Civil War. In 1641 he held Connaught Castle for the King during a siege by Parliamentary forces. Later he captured Hawarden Castle in December 1643.
His end is unclear, John Aubrey's 'Natural History of Wiltshire' has it that he was killed in the market place.
But another account says that Earnley rose from his sickbed to fight and, refusing to yield to the Parliamentary soldiers, was cut down.

UPDATE: courtesy of Jonathan Worton, research student at the University of Chester, studying the English Civil Wars in and around his home county of Shropshire, the region where Sir Michael campaigned and ultimately died:-
"Aubrey, in his Wiltshire history, was wrong on Ernley's death - both the cause and date (as also was the Royalist historian Edward Hyde, Earl of Clarendon). By early 1644, Ernley appears to have been suffering from consumption, or tuberculosis. He probably acquired this on campaign in Ireland, 1642-43, and the condition effected his ability to command in the field. Clarendon, in his history, has the bed-ridden Ernley killed in his nightshirt by Parliamentarian troops when they took Shrewsbury in the early hours of 22 February 1645. However, a Parliamentarian officer wrote that Ernley helped to lead the Royalist defence, and was wounded in the fighting and beaten to the ground. Given the time lapse until his demise, it appears it was a combination of chronic illness and the effect of this wounding which finally did for him."

ADRIAEN HANNEMAN (c. 1603 - 1671) was a Dutch Golden Age painter best-known today for his court portraits of the British and Dutch nobility, his style was strongly influenced by his contemporary, Sir Anthony Van Dyck.
According to some sources, he may have worked in the studio of Van Dyke in London. Later, in the Hague, he painted several English Royalists who had gone into exile in the Netherlands after the English Civil War.

SIZE: 50 x 42 inches inc. frame.
*By descent to Sir Francis Burdett, 7th Baronet, of Ramsbury Manor, Wiltshire The Burdetts were at Ramsbury from 1800 to 1951 when Sir Francis died.
This painting was sold at Sotheby's Ramsbury Manor sale of 5 February 1953, lot 2.
*American private collection
*Sale, Sotheby's New York, 7 December 1985, lot 6.
*American private collection until 2012.

VERSO: Old handwritten label:-"Sir Michael Ernle Bart. Governor of Shrewsbury Castle, in reign of Charles Ist. Sir A. Vandyke".
Another older copperplate script label:- "Sir Michael Ernle, Knight Banneret By Sir Anthony Van Dyke".
Ref: 8641
This item has been sold

SOLD....Portrait of Sir William Eliot c. 1680; Circle of Kneller
Oil on canvas in good quality carved and giltwood period frame.

The sitter, Sir William Eliot of Busbridge near Godalming,(1623-1697), looks proudly and directly at the viewer.
Painted, most likely, on the occasion of his second marriage on February 2nd 1680, Sir William wears his own hair rather than the fashionable periwig. His cravat is worn 'a la Steinkirk'.
The column in the background is not just an item of decoration, it symbolises Sir William being the pillar of the House of Eliot.
His first wife was Elizabeth Scott, and on her death he married Margaret Murray in 1680 at the age of 57. The union resulted in five children of whom Sir Gilbert Eliot (1680-1764) became the 3rd baronet.

A later Latin inscription on the base of the column tells the reader that Sir William confidentally awaits Christ's glorious Second Coming and that he died on the First Sunday in Advent in 1697 at the age of 74.
This inscription had earlier been painted higher up the column, but in a change of mind it was painted over; it can still be faintly seen.

SIR GODFREY KNELLER (1646-1723) was the most distinguished painter of baroque portraits in England.
Born in Lubeck, he trained with Bol and Rembrandt, coming to London in 1676.
By 1679 he had painted the King and remained the most famous and successful portrait painter in England until his death.
In 1688 he was made Principal Painter to the King and was knighted in 1692 and a made a baronet in 1715.
His style had a profound influence on British portraiture and a large number of artists, some very talented in their own right, emulated his fashionable style.

SIZE: canvas 50 x 40.5 inches.
PROVENANCE: Lord Courthope, Whiligh, Wadhurst, East Sussex;
the Honourable Daphne Courthope;
her second cousin John Hardcastle;
thence by descent.
(George Loyd Courthope, 1st Baron Courthope P.C; M.C. was a member of a family that had been settled at Whiligh in Sussex for many centuries. Image 5 shows Whiligh.)
Ref: 8569
This item has been sold

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

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

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.


Ref: 8380
This item has been sold

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