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Our website was last updated on: 25 June 2016
 
SOLD ITEMS
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SOLD....Portrait of a Scottish Nobleman 1627; by Adam de Colone
Oil on canvas in reproduction 'cassetta' frame of the correct type.
The canvas inscribed u.l. 'Aetatis. 29. / 1627'.
The form of the inscription is so specific to Adam de Colone as to be as reliable as a signature for the purposes of attribution.
At this period de Colone's work was in its fullest flowering, showing great subtleties of character in the sitters . This sensitivity was denied to many of his contemporaries.

This is a high quality portrait of a young man, almost certainly a member of the Scottish nobility, wearing a fine slashed doublet with expensive 'reticella' lace to collar and cuffs; his silk doublet and fine lace are indications of wealth and status and are carefully depicted.
In a period when black clothing was the fashion artists strove to depict the different nuances and textures of the fabrics as convincingly as possible.
They found that black is an ideal background with which to contrast the crisp white linen and rich lace and this dramatically accentuates the face and hand gestures. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of portraiture of this period.
The sitter's gold brocade sword belt adds a further touch of the dramatic.

ADAM DE COLONE (painting c.1613-1628) was a portraitist of Scottish sitters. He was born in Edinburgh (probably c.1593), son of Adriaen Vanson (James VI's Court Painter) and Susanna de Colone; he trained in the Netherlands in the tradtion of Miereveld. He returned to Scotland c.1622 and painted two portraits of King James in 1623, for which he was paid £60.
Colone has been identified as the painter of 23 portraits of Scottish upper nobility, one of which, 'George, 3rd Earl of Winton and his two sons', is associated with a payment to 'Adame the painter'; this is his finest portrait and can be seen in the Scottish National Portrait Gallery, along with portraits of 'Anne Hay' and 'James VI'.

His earliest known portrait is a three-quarter length on panel of Sir William Stewart of Grantully of 1613, sold a few years ago at auction in Edinburgh to the art trade for £53,000.
The latest dated of his portraits is 1628, after which there is no further evidence of him.
Colone's work provided both competition and example to George Jamesone.

SIZE: 24.75 x 19.75 inches canvas size
33 x 28 inches frame size

Verso: old collection, exhibition and storage labels

PROVENANCE: Acquired from Shepherd Bros. in December 1912 by T.W. Bacon (1863-1950).
At East Riddlesden Hall 1962-99.
Sold by his executors in 2000.
A Private Collection 2000 - 2008

EXHIBITED: Loaned to the Union Club, Manchester 1950-1954.
Loaned to the National Trust for display at the 17th c. East Riddlesden Hall, Yorkshire from 1962 to 1999.

Ref: 8464
This item has been sold





SOLD....Portrait of a Young Boy and His Cat c.1830; English School.
Oil on canvas in distressed Victorian frame.

An appealing portrait of a young boy and his pet cat painted c. 1830. The boy gazes calmly out at us whilst holding a wriggling cat (little more than a kitten).
As was then the fashion, indeed, as it had been for centuries, young boys wore a dress until they were about six or seven when they were 'breeched' and wore their first proper male clothing.
The boy wears an extraordinary hat which seems to be Greek or Ottoman in inspiration. The poet Lord Byron was painted wearing one with Greek national costume at this time.

The sitter and the artist are both unknown but the latter seems to have influenced by Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) who was a leading English portrait painter and President of the Royal Academy.

SIZE: 40.5 x 35.25 inches inc. frame.
Canvas size: 30 x 25 inches.
PROVENANCE: Private Collection, Shropshire.
Ref: 8662
This item has been sold





SOLD....Portrait of a Young Boy and his Spaniel c.1710, by Charles D'Agar
A fine quality oil on canvas in original carved and giltwood frame.

This charming portrait depicts a young aristocrat wearing the fashionable 'banyan' or loose robe favoured for relaxation at that time. Equally fashionable was the ostrich feather trimmed tricorne hat and the cravat tied 'a la Steinkirk'.

(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692. The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the lace of fringed ends twisted together and tucked out of the way into a button hole. The Steinkirk was popular with men and women until the 1720s.)

The boy stands on a stately terrace with an Italianate garden behind him; the beautifully painted Spaniel playfully crouching at his feet was probably a pet but is also a symbol of fidelity and trust.

CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.

D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.
This portrait is strongly reminiscent of a portrait of Lord George Douglas in the collection of the Dukes of Buccleuch, which was painted in 1709. Payment of £16 2s 6d was paid for this.

SIZE: 58 x 49 inches inc. frame.
PROVENANCE: a country house collection in the South West of England
Ref: 8524
This item has been sold





SOLD....Portrait of a Young Boy as an Artist, late 18th c; Follower of François-Hubert Drouais
Oil on canvas in a gilt frame of late 18th c. type.
The good looking boy is dressed in the fashionable clothes of aristocratic children of the period and, holding his palette, turns away from the portrait he is painting to look at the viewer.
His rather thoughtful gaze and slight smile enhance the charm of this beautiful portrait.

FRANCOIS-HUBERT DROUAIS (1727-1775) trained under Boucher and was strongly influenced by his style; he became a rival to Nattier as a fashionable portraitist. His portraits have a gracious and slightly artificial charm redolent of the French Court.
Painting mainly the aristocracy, he was particularly successful with children, but his best known portrait is probably that of Madame de Pompadour, mistress to Louis XV.

SIZE: 30 x 25 inches inc. frame.
PROVENANCE: French Private Collection.
Ref: 8513
This item has been sold




SOLD....Portrait of a Young Boy c.1650; Follower of Pieter Nason
Oil on canvas c.1650 in a good quality reproduction gilt frame of 17th c. type; a charming painting of a young boy, painted within a feigned oval, by a Follower of Pieter Nason.

Pieter Nason (1612 - 1689) was a talented portraitist who left Amsterdam in 1639 to settle in The Hague. On arrival he abandoned his rather outdated manner in favour of the fashionable style popular in the court-capital.

His smooth technique and habit of painting young children in fantasy costumes (a mixture of the fashions of the day and a pseudo-historical look) helped make Nason a sought after and valued portraitist both inside and outside the Netherlands.

He worked for a time at the Court of Charles ll in England.

Size: 30.5 x 26 inches framed
26 x 21 inches canvas size


Provenance: stretcher bears old stamp of a French restorer.

NOTE: PRICE DOES NOT INCLUDE SHIPPING
Ref: 8375
This item has been sold




SOLD....Portrait of a Young Boy with a Hoop c.1826; Attributed to Sir John Watson Gordon.
Oil on canvas in period gilt frame.

A charming image of a young boy about to bowl his hoop along the ground.
This excellent portrait has the simple sincerity for which Gordon was noted.

SIR JOHN WATSON GORDON, RA. PRSA. (1788 -1864) was a Scottish portrait painter and a president of the Royal Scottish Academy.
He was born John Watson in Edinburgh, the eldest son of Captain Watson, R.N., a cadet of the family of Watson of Overmains, in the county of Berwick. He showed a natural aptitude for art, and his father was persuaded to allow him to adopt it as his profession. Captain Watson was himself a skilful draughtsman, and his brother George Watson, afterwards president of the Royal Scottish Academy, was a highly-respected portrait painter, second only to Sir Henry Raeburn, who was also a friend of the family.

In 1808 John exhibited a picture "The Lay of the Last Minstrel" at the Lyceum in Nicolson Street, Edinburgh - the first public exhibition of paintings in that city - and continued for some years to exhibit fancy subjects; but, although freely and sweetly painted, they were altogether without the force and character which stamped his portrait pictures as the works of a master. After the death of Sir Henry Raeburn in 1823, he succeeded to much of his practice. He assumed in 1826 the name of Gordon to distinguish himself from his two cousins and uncle who were also painting in Edinburgh.

One of the earliest of his famous sitters was Sir Walter Scott, who sat for a first portrait in 1820.
During the last twenty years of his life he painted many distinguished Englishmen who came to Edinburgh to sit to him; and it is significant that David Cox, the landscape painter, on being presented with his portrait, subscribed for by many friends, chose to go to Edinburgh to have it executed by Watson Gordon, although he neither knew the painter personally nor had ever before visited the country.

Gordon was one of the earlier members of the Royal Scottish Academy, and was elected its president in 1850; he was at the same time appointed Limner for Scotland to the Queen, and received the honour of knighthood. Since 1841 he had been an associate of the Royal Academy, and in 1851 he was elected a Royal Academician.

SIZE: 36 x 31 inches inc. frame.
PROVENANCE: Private Collection, South of England.
Ref: NP101
This item has been sold





SOLD....Portrait of a Young Gentleman c.1645; attributed to Theodore Russell
Oil on oak panel in fine period carved auricular frame.
(The auricular style flowered in the 1640s and 1650s, and subsequently in the form of the Sunderland frame. Auricular, meaning literally 'of the ear', was a highly stylised free-flowing interpretation of organic forms, usually animal or marine in nature and was fashionable from the 1630s to the 1680s for pictures of all sizes).

A very sensitive and high quality portrait of a young man, hardly more than a boy, his fashionable moustache barely showing, painted at the time of the English Civil War.
Armour was very expensive and was often used in portraiture to depict the wealth and gentlemanly status of the sitter.
However, as this was a deeply troubled time it is likely that the sitter would have been involved in the armed conflict between the King and Parliament.
Which cause he favoured and whether he survived or not is unknown.

THEODORE RUSSELL (1614-1689)
Aliases: Theodore Rousel; Theodore Rousseel; Theodore Roussel; Theodore Russel.
Born in London, his father, Nicasius, was a goldsmith and jeweller, who left Bruges for England about 1573 and settled in the parish of St Anne, Blackfriars, London; his second wife, Theodore’s mother, was the sister of Cornelis Jonson van Ceulen.
The Russells were connected with the Gheeraerts, de Critz and Oliver families. Theodore’s son, Anthony Russell, who provided George Vertue with information concerning 17th-century artists, stated that Theodore had studied under Jonson and van Dyck, had been employed by such patrons as the 3rd Earl of Essex and the 1st Earl of Holland, and ‘was a lover of ease & his Bottle’.
Signed portraits by him are rare. A set of five bust-length portraits at Knebworth House, Herts, includes a male portrait, signed and dated 1644. They are sensitive works in the manner of Jonson.

SIZE: 21.5 x 17 inches inc. frame.
PROVENANCE: By descent through a family of Worcestershire landed gentry.
Ref: 8617
This item has been sold





SOLD....Portrait of a Young Girl c.1680; attributed to Mary Beale
Oil on canvas in reproduction parcel gilt 'cassetta' frame.

The attractive young sitter is depicted as a shepherdess in the mythical realm of Arcady (or Arcadia), a fashionable conceit of the times which also featured in the literature and poetry of the period.
The girl holds a shepherd's crook of the Continental type; real shepherds would use the shaped end to scoop up and throw small stones to send the sheep in a chosen direction.

The influence of the style of Sir Peter Lely, Mary's mentor and friend, is clearly seen.

MARY BEALE (1633 - 1699). Born Mary Cradock in Suffolk where her father was rector of Barrow church. She married Charles Beale in 1651/2.
At a time when a female professional artist was a rare thing Mary quickly built up a successful business painting mainly the middle classes.
Known as a painter from 1654, her later work was strongly influenced by Sir Peter Lely, Painter to the King and immensely fashionable.
Mary's most active period was in the 1670s and 80s. In many, but not all, of her bust portraits she affects a feigned stone oval surround.

SIZE: framed 30 x 24.25 inches
canvas size 23.75 x 17 75 inches.

PROVENANCE: London Private Collection.
Verso, a framer's label 'Sebastian d'Orsai (A.B.) Ltd.'
Ref: 8453
This item has been sold





SOLD....Portrait of a Young Girl c.1700; Circle of Robert Byng
Oil on canvas in a 19th c. gilt frame of 17th c. 'cassetta' type.

A charming portrait of a pretty young girl by a member of the Circle of Robert Byng.

The sitter is holding a variegated tulip, which, in the Language of Flowers, symbolises 'beautiful eyes'; the large rose, of course, is the symbol of love.
The basket of flowers together also represent the beauty and fleeting quality of youth.

The girl wears a Classical robe, to her right a draped curtain and to her left the landscape of Arcadia...the mythical world so fashionable at the time.

This artist, strongly influenced by Byng's noted portraits of children, lacks the technical sophistication of his master, especially in the stylised treatment of the drapery.
However there is a strong sense of a painterly delight in using the medium - especially in some of the impasto in the drapery which contrasts pleasingly with the gently painted face.
The painting has a strong appeal and is an endearing image of an attractive young girl.

Robert Byng (1666 - 1720) was born in Wiltshire, but is buried in Oxford where he died in 1720, having lived there since before 1714.
He was a pupil of,and very strongly influenced by, Sir Godfrey Kneller (Principal Painter to the King and the most distinguished Baroque portraitist in England).
Byng's earliest dated portraits are c.1697; one of his younger brothers, Edward, was drapery painter to Kneller and his principal assistant.

SIZE: 44 x 33.5 inches inc. frame
PROVENANCE: a Private London Collection.

Verso: an old label of Francis Draper of Albany Street, London. 'Restorer and Preserver of Paintings in London and the Country'. By appointment to his Majesty the King; then follows a list of noted clients including the National Portrait Gallery and members of the Royal Family.

Ref: 8401
This item has been sold




SOLD....Portrait of a Young Girl c.1775 - 1790; English School.
Oil on canvas in gilt frame.

An extremely attractive naive Georgian portrait of a young girl in the countryside.
There is a sense of peace to the painting; the youthful sitter looks confidentally out at the viewer. Her hat, to protect her fair complexion and avoid any unsightly browning of the skin, lies abandoned on the ground. She wears the red shoes so fashionable at this time.

The child has a pet robin on a string perched on her hand whilst another, on a twig, looks across.
Birds, at this time, were common pets and playthings but, depicted in a portrait, they also had other meanings.
A free bird, which could easily fly away, was used as a symbol of the transience of life but a tethered one represented the desire for longer life for the child. Even children from rich families had a high mortality rate.

The identity of the provincial artist is unknown although he was clearly influenced by the fashionable artists of the day. Naive the portrait may be, but it has great charm and a direct quality sometimes lacking in more sophisticated works.

SIZE: 43 x 31 inches inc. frame.
PROVENANCE: English Private Collection.

Ref: 8680
This item has been sold



 
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