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Our website was last updated on: 12 February 2016
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SOLD....Portrait of Anna Maria, Baroness Dacre c.1740; Circle of Van Loo
Oil on canvas in a Late Georgian Neo-Classical gilt frame.

This portrait of the Baroness shows her in the State robes of a peeress and was probably painted on the occasion of her marriage.
ANNA MARIA PRATT was born before 1724 and died in 1806. She was the daughter of Sir John Pratt, Lord Chief Justice of the King's Bench, and Elizabeth Wilson; she was the sister of Charles, 1st Earl Camden.
Anna Maria married Thomas Barratt-Lennard, 17th Baron Dacre in London in 1739. They had one child, the Honourable Ann Barbara, who died aged nine.

Lord Dacre had a son out of marriage by Elizabeth FitzThomas; Thomas, later 1st Baronet, was born in 1762 and was brought up by Lord and Lady Dacre and treated as if he had been the legitimate offspring of their marriage. Anna Maria acted as a mother, and as an exceptionally good mother too. Knowing she could have no more children, she connived at this intrigue for her husband's sake as he was anxious to have a son to whom he might leave the family estates.
The boy was given the education and upbringing that would prepare him to assume the rank and status of the Barrett Lennard family. Lord Dacre died in 1786 and in his will he asked his wife to 'take upon herself the guardianship of his child, who he directed was to assume the names of Barrett and Lennard and the arms and crests belonging to those families'. This she did.

JEAN-BAPTISTE VAN LOO (1694 - 1745) was born in Aix-en-Provence; he worked in the south of France, Turin, Rome and Paris.
He came to England in 1737 where he became immensely successful and fashionable, much to the annoyance of the native born English portraitists.
His Continental style was considered smart and his manners and manner appealed to the upper classes.

SIZE: 38 x 32.5 inches inc. frame.

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

According to family tradition, sold from Mrs. Fitzherbert's house near the Royal Pavilion, Brighton, c.1840, where it was acquired by the great-great-great-grandfather of the previous owner (as the sitter was a family member) and thence by descent to Henry Robert, 2nd Viscount Hampden and 24th Baron Dacre, then to his son Robert Brand, 1st Baron Brand, then to his daughter the Hon. Virginia Brand, wife of Sir Edward Ford.

NOTE: Maria Anne Fitzherbert, née Smythe (26 July 1756 – 27 March 1837), married the Prince Regent, future King George IV, in a secret ceremony, and was his companion for a large part of his adult life. However the marriage was invalid under English laws concerning royal marriages and she never became Queen or acquired any other title. For political reasons George was made to marry Caroline of Brunswick; it was an unhappy marriage.

Ref: 8247
This item has been sold

SOLD....Portrait of Capt. Charles Beague St.John Mildmay c.1885; English School.
Oil on canvas in excellent gilded period frame.
This portrait comes with his sword, shown in the painting, and three framed photographs of the sitter in later life.

This is a fine military portrait by an artist as yet unknown, although the influence of Sir Francis Grant P.R.A. can be seen.
Captain St.John Mildmay wears dress uniform, which is still worn by The Royal Horse Artillery on state occasions.

CHARLES BEAGUE ST.JOHN MILDMAY (1861-1923) was the oldest surviving son of Arthur George St.John Mildmay (1824-1883) and his wife Charlotte (nee Beague).
The St.John, Mildmay and Beague families were all old ones, with a history of service to the country...military and political.
Charles married a kinswoman, Evelyn Augusta St.John Mildmay in 1892. She was the daughter of Capt. Edmund Henry St.John Mildmay, late of the 5th Radetzky Hussars in the Austrian Imperial Service; he became Equerry to H.R.H. the Duke of Cambridge.
Charles and Evelyn had two daughters, Dorothy and Letitia.
Charles served with the Royal Artillery, the Royal Horse Artillery and the 4th Bttn. of the Somerset Light Infantry. He saw service in the Boer War 1900-01, becoming a major (Hon) in 1908, presumably upon his retirement.

The photographs (see Image 4) show him wearing a campaign medal, probably from the Boer War.
Also in Image 4 can be seen his sword; an 1821 pattern Artillery officers sword by Wilkinson of Pall Mall, London.
Numbered 23530, the sword was made c.1880 which would have been when Mildmay was a lieutenant.
The blade bears the Royal Coat of Arms for Queen Victoria over the Royal Artillery motto 'Ubique'. On the other side there are winged thunderbolts, Royal Artillery, scrolling foliage and two heraldic crests...the lion of Mildmay and the falcon of St. John.
It is often forgotten that officers of the artillery were 'front line' troops through the Victorian period, as the science of indirect fire (engaging targets out of direct line of sight) was only really developed in World War I. Thus an officer's sword was far more than a dress piece, and could on occasion be called upon to save his life.

SIZE: 64 x 42 inches inc. frame.
PROVENANCE: by descent in the St.John Mildmay family formerly of Hollam House, Dulverton, Somerset. The St.John Mildmays owned Hollam for hundreds of years, Sir Walter St.John Mildmay was the last to live there in the 1990s. (Image 5)
Ref: 8694
This item has been sold

SOLD....Portrait of Captain Stewart 1814; by Thomas Phillips R.A.
Oil on canvas in ornate frame.

The subject of this Late Georgian/Regency portrait is thought to be Daniel Stewart (Stuart), brother of Elizabeth Stewart, Mrs. Westmacott (portrait also on this website).
But there were four brothers in the army...Daniel, John, Charles and Thomas ...a lieutenant, a captain and two majors; however this portrait has decended directly through the family and is known as Daniel.
The handwritten label verso says the sitter was a captain in the 24th Dragoons, but the dragoons wore blue uniforms and this officer wears a red tunic with the yellow facings of a Scottish regiment. Of course, the officer may have changed regiments at some time but clearly more research is needed to identify the sitter beyond doubt.
In August 1822 two of the Stewart brothers died in India, both in the Honourable East India Company, Bombay; Major John Stewart died of a liver complaint aged 43, and Captain John Guise Stewart died of a wound in the head aged 38,"both brothers of Mrs. H. Westmacott of Cadogan-place". Reported in 'The Gentleman's Magazine' Volume 92, "Obituary of Remarkable Persons" and "Blackwood's Magazine" Volume 11.

The parents of the sitter were Thomas Stewart, Town Clerk of Montrose and Elizabeth Guise, born in Gibraltar in 1755.

The National Portrait Gallery has Thomas Phillip's sitter's book in which this portrait and that of his sister Elizabeth Stewart are included.

THOMAS PHILLIPS R.A. (1770-1845) was a leading English portrait painter. He painted many of the important and wealthy of the day including scientists, artists, writers, poets and explorers.
He was elected ARA 1804, RA in 1808, becoming Royal Academy Professor of Painting in 1825.
Phillips was a contemporary of Lawrence and offered a more subdued style based on his study of Old Masters. "His best works are full of character and show him to be in the top rank of portrait painters" (The Dictionary of Portrait Painters in Britain up to 1920.)

SIZE: 40.5 x 35.75 inches inc. frame
30 x 25 inches canvas size.
PROVENANCE: By family descent.
Deceased Estate, Dorset.
VERSO: handwritten label identifying the sitter.
Ref: 8628
This item has been sold

SOLD....Portrait of Catherine Sedley, Countess of Dorchester (?) c.1690, by John Closterman
Oil on canvas in Lely pattern gilt frame.

An extremely high quality portrait thought to be of Catherine Sedley; the sitter bears a very strong resemblance to a portrait of 1685 by Kneller at Kedleston Hall. (See Plate 96 'Painted Ladies. Women at the Court of Charles ll'. Published by the National Portrait Gallery).
As was the fashion the sitter is shown wearing her most informal garments, known as 'undress' yet she wears a diamond brooch and holds what seems to be a diamond necklace. (Until the 19th c. all diamonds were flat or table cut and thus appear as black gems in portraiture). One can only presume there was some significance in their depiction...perhaps relating to her engagement or marriage which occurred around this time.

CATHERINE SEDLEY, Countess of Dorchester, Countess of Portmore (c. 1657 – 26 October 1717), daughter of Sir Charles Sedley, 5th Baronet, was the mistress of King James II both before and after he came to the throne.

She was created Countess of Dorchester for life in 1686, an elevation which aroused much indignation and compelled Catherine to reside for a time in Ireland. In 1696 she married Sir David Colyear, Bt., who was created Earl of Portmore in 1703, and she was thus the mother of Charles Colyear, 2nd Earl of Portmore. She died at Bath on 26 October 1717, when her life peerage became extinct.

By James II, Lady Dorchester had a daughter Lady Catherine Darnley (d. 1743), who married James Annesley, 3rd Earl of Anglesey, and after his death married John Sheffield, 1st Duke of Buckingham and Normanby. Through Catherine, her daughter by her first husband, she was the ancestress of the Barons Mulgrave and of the Mitford sisters.

JOHN CLOSTERMAN (1660-1711), born in Osnabruck, settled in London in !681. He worked with John Riley until the latter's death in 1691.
By the 1690s Closterman was rediscovering earlier influences, especially the extravagant, textural, French manner he learned in Paris under François de Troy. He was adept at fashionable baroque poses, with rather showily painted draperies.
Closterman’s sense of theatre and his mastery of colour explains his appeal to a broad clientele, from nobles like the Dukes of Somerset and Marlborough to Sir Christopher Wren and Henry Purcell, the geniuses of the age.

SIZE: 58 x 47.75 inches inc. frame.
PROVENANCE: Private Berkshire Collection for many years
Ref: 8492
This item has been sold

SOLD....Portrait of Charles I in armour c.1640; Attributed to Remigius van Leemput.
Oil on oak panel in a rare and 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).

One of the series of portraits after Van Dyck and Lely. By the reign of George III they were attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio. (see The Royal Collection).

This portrait is an excellent version of one of Van Dyck’s finest portraits of Charles I. The original, a full length, was painted c. 1638, and shows Charles in full armour, holding a commander’s baton, his hand resting on a sword, with a crown and helmet in the background. The best version is in the Hermitage in St Petersburg. The portrait became one of the most popular of Charles, especially during and after the Civil War, as Royalists sought images of the king as a military hero.
Difficult to date precisely, these reduced copies of van Dyck's works were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures, adorning the private walls of Royalist supporters. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).

REMIGIUS VAN LEEMPUT,(1609?–1675), painter, born at Antwerp about 1609, was received into the Guild of St. Luke there in 1628–9. He came to England in Charles I's reign, and among other works for that king he made a small copy in oils of the famous painting by Holbein at Whitehall of Henry VII, Henry VIII, and their queens, which was afterwards destroyed by fire; Van Leemput's copy is now at Hampton Court. He was one of the purchasers at the sale of King Charles's collection, and among his purchases was the great picture of Charles I on horseback, by Van Dyck (now at Windsor), which was recovered from him with some difficulty at the Restoration. M. Remy or Remée, as he was usually called by his contemporaries, was a well-known and skilful copyist of pictures. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.

SIZE:panel 15 x 12 inches.
Framed size 21 x 17 inches.
PROVENANCE: Private Collection, London.
Ref: 8843
This item has been sold

SOLD....Portrait of Charles Pym Esquire c.1710; attributed to Sir Godfrey Kneller
Oil on canvas in good reproduction early 18th c. style frame.

Inscribed uper left 'Charles Pym Esqr of St. Kitts. B. D.1740.' The sitter within a feigned oval.
Charles Pym was a member of an ancient English family, first found in Somerset. Like Charles, other members of the family sought their fortunes overseas....Henry Pym settled in Barbados in 1688; Mary Pym in Virginia in 1673; Richard Pym in Barbados in 1687, and another Charles Pym who arrived in New England in 1715.

The Charles Pym depicted here was a wealthy and important sugar plantation owner in St. Kitt's (also known then as St. Christopher's).
In 1727 he was a significant figure in the Federated Colony of the Leeward Islands...St.Kitt's, Nevis, Antigua and Montserrat. He was a Member of the Council of Antigua in 1725/6 and 1727/8, and on 18 September 1733 a Member of the Council of Basseterre.
Pym had a daughter, Priscilla, who inherited her father's considerable wealth on his death in 1740.
A very eligible heiress, she married Lord Romney in August 1742. They had five children, of whom the first-born was named Charles, after his grandfather.

These wealthy entrepreneurs with estates in the Caribbean often returned to England to have their portraits painted and Pym could certainly afford Kneller..the most fashionable artist of his time.
Charles is shown with the well-fed self-satisfied look of the rich of the period. It will be noticed that depite living in the West Indies his skin is untanned; only peasants and outdoor workers were browned by the sun...it was regarded as very low class.

SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King.

SIZE: 36.5 x 31.75 inches inc. frame

PROVENANCE: Suffolk private collection.
Ref: 8456
This item has been sold

SOLD....Portrait of Dorothy Coventry, Lady Pakington c.1650: attributed to Theodore Russell.
Oil on canvas in period carved and giltwood frame.

Unusually for a portrait of this age the canvas has never been lined and is supported by the original stretchers held together by handmade iron clout nails.

The sitter, traditionally known as Lady Pakington, looks confidentally at the viewer, her hair, pearls and silk clothing the last word in fashion at the time.

DOROTHY COVENTRY (1623-1679) was the daughter of Sir Thomas Coventry and Elizabeth Aldersley. Sir Thomas was Keeper of the Great Seal and a Privy Counsellor.
Dorothy married Sir John Pakington of Westwood, Worcestershire. This magnificent country house remained in the family from the time of Henry VIII intill 1906. (see image 5).
Sir John was imprisoned in the Tower of London by Parliament for his Royalist convictions; he was fined the colossal sum of £5000 and had his estate confiscated and his Buckinghamshire house was demolished.
Undeterred, on his release, he fought in the Battle of Worcester in 1651 where he was captured and fined again...this time £7670.
After the Restoration he became MP for worcestershire.

Like her husband, a fervent Royalist, Dorothy shared in the circulation of religious and philosophical manuscripts around the King's chaplain Henry Hammond. She was thought by her contempories to be the authoress of "The Whole Duty of Man".

("The Whole Duty of Man" is an English Protestant devotional work, first published anonymously, with an introduction by Henry Hammond, in 1658. It was both popular and influential for two centuries, in the Anglican tradition it helped to define.
The consensus view of modern scholars is that the likely author was Richard Allestree, but at the time of publication (towards the end of the Interregnum) the Royalist High Church tradition it represents was a politically dangerous position. The authorship was well concealed.)

Lady Pakington is buried in the church at Hampton Lovett, Worcestershire, her memorial is inscribed at the foot of a monument to her husband.

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’.

SIZE: 21 x 18 inches inc. frame.
PROVENANCE: English private collection for many years.
VERSO:old ink inscription: 'Lady Pakington, daughter of the Lord Keeper Coventry, Authoress of the Whole Duty of Man'
Ref: 8637
This item has been sold

SOLD....Portrait of Dr. William Bell c.1812; Scottish School.
Oil on canvas laid on board in gilt frame.

This superb portrait is of Dr. WILLIAM BELL, almost certainly painted on his graduation in 1812.
Bell was born on 15 March 1792 in Bedrule, Roxburghshire. He was the son of William Bell and Markie Minto. William Bell was baptised on 25 March 1792 at Bedrule, Roxburghshire.
He graduated in 1812 from Edinburgh M.D. He entered military service as a Hospital Mate for General Service 24 August 1812, promoted Assistant Surgeon 56th (or the West Essex) Regiment of Foot, 4 Mar 1813; 40th (or the 2nd Somersetshire) Regiment of Foot 20 Sept. 1827; Surgeon 26th (or the Cameronian) Regiment of Foot 15 Mar 1831: Staff Surgeon 1st Class 7 June 1844; Deputy Inspector General of Hospitals 12 Mar 1852; Inspector General 7 Dec 1858. Granted local rank of Inspector General 18 Sept. 1857 to 6 Dec. 1858.

"Dr. Bell's services extended over a period of 47 years. He served in Holland during the campaign of 1814; and was at both attacks of Merxem and at the bombardment of Antwerp; he was surgeon of the 26th. (or the Cameronian) Regiment of Foot throughout the war in China in 1840 to 1842, and was present on every occasion on which the Regiment was engaged. (Medal and clasp.){ see Image 5}. He served also during many years in Mauritius, India, Canada and Nova Scotia, and died leaving a widow and five children dependent chiefly on their Pensions."

The first Opium War took place 4th July 1840 - 17th August 1842. Three battalions of British infantry (18th, 26th and 49th Foot) were sent from India and Ceylon and were supported by a detachment of Artillery.

The force arrived off Macao on the 21st June and, a week later, entered Chusan harbour and began a blockade of which the Chinese took little notice. Sickness developed in the British force on an appalling scale. The 26th Foot which had arrived 900 strong had no more than 140 fit men by the end of 1840, and of a force originally numbering 3,000, 450 had died and 500 were in hospital.

In January 1840 an amphibious attack was made up river towards Canton. The forts defending that city were taken but protracted negotiations for an armistice delayed operations. The Chinese then counter attacked in April, as a result of which the British force staged a full scale attack on Canton itself. Canton was defended by 45,000 Chinese troops, but the 3,500 soldiers, marines, and seamen under General Gough routed the Chinese and captured the city.

William Bell married Zébée Stewart Gordon, daughter of Maj. Gen. Alexander Gordon R.E. and Zébée Anne Rose Touzi, on 22 October 1850 in St. George's Church, Montreal, Canada, the service was conducted by the Rev. William Bond.
Dr. Bell retired on half pay on 31 December 1858; he wrote a number of published articles.
In 1860, his address was Jedburgh, Scotland. He died on 4 November 1862 suddenly at Boundary Bank, Jedburgh, at the age of 70; at half past four in the afternoon, and was buried on 8 November 1862 in the Old Churchyard, Ancrum. (see Images 7 & 8).

William and Zebedee had five children:-
Zébée Minto Bell b. 17 Jul 1851, d. 21 Jun 1928
Amy Gordon Bell b. 10 May 1855, d. 25 Dec 1931
Helen Symonds Dobree Bell b. 6 Sep 1856, d. 27 May 1947
William George Gordon Bell b. 28 Feb 1860, d. 4 Jul 1888
Rose Annie Stewart Bell b. 29 May 1862, d. 23 Apr 1942

Image 6 shows Menslaw House, owned by the Bells until 1860.

The above information on Dr. Bell came from the website 'Sewall or Sewell of Coventry' by John Rees.

SIZE:30 x 26 inches inc. frame.
PROVENANCE:* by family descent.
*Deceased estate in Exeter.

Ref: 8710
This item has been sold

SOLD....Portrait of Eleanor Preston c.1700; Studio or Circle of James Maubert
Oil on canvas in carved and giltwood frame.

This enchanting portrait is decorated with Maubert's trademark flowers and distinctive flowing drapery. The sitter's fine complexion, her delicate wrists and elegantly posed hands are expertly portrayed to accentuate her elegance.
She holds flowers in her right hand, jasmine for amiability of character and the red rose for love.

JAMES MAUBERT (1666-1746)was much praised by contemporaries not only for his ''skilfull, well dispos''d & natural'' reproductions of ''fruits, flowers and draperies'' but for his ability to ''Paint from the life''(1).
The son of French Huguenots, Maubert is said to have been born in Dublin. Although he studied under Gaspar Smitz, his stylistic traits demonstrate the influence of Kneller and Dahl. During his life the artist produced an impressive series of paintings of poets, each ''mightily'' adorned ''with flowers & Hony suckles ''(2).
He is best known for his portraits of women and children.

(1) The Walpole Society, ''Vertue Notebooks'', vol. III pg.28.
(2) Ibid. vol. IV pg. 120.

SIZE: canvas 39 x 32.5 inches.
PROVENANCE: English Private Collection.
Verso: 1920's Pickford's storage label for Atkinson.
Label : 'E. Preston'
Ref: 8689
This item has been sold

SOLD....Portrait of Elizabeth Brodie Stewart, Mrs. Westmacott c.1819; by Thomas Phillips R.A.
Oil on canvas in ornate 19th c. frame.

This charming portrait of Elizabeth Stewart (Stuart) was painted in 1819 when she was 32 and married to Henry Westmacott. They were married on the 1st of May 1810 in St. George's, Hanover Square, London. Their union produced nine children.

Elizabeth was born on the 1st of October 1787 in Montrose, Scotland. Her father, Thomas, was the Town Clerk of Montrose and her mother, Elizabeth Guise had been born in Gibraltar in 1755.

Henry Westmacott was born on the 13th of October 1784 in Hanover Square, London. The Westmacott family were leading sculptors of funerary monuments in the 18th and 19th centuries and also specialised in carved chimney pieces and other forms of architectural sculpture.
Henry produced work at a young age, carving a marble monument to Henry Roberts at Swanscombe, Kent in 1796 when he was 12.
Thereafter he produced nearly 50 church monuments. Between 1806 and 1810 he did work in connection with John Flaxman's marble monument to Horatio, Admiral Viscount Nelson at St. Paul's Cathedral, London.
Henry died in 1861 aged 77.

The National Portrait Gallery has Thomas Phillip's sitter's book in which this portrait and that of her brother Captain Stewart are included (also on this website).

THOMAS PHILLIPS R.A. (1770-1845) was a leading English portrait painter. He painted many of the important and wealthy of the day including scientists, artists, writers, poets and explorers.
He was elected ARA 1804, RA in 1808, becoming Royal Academy Professor of Painting in 1825.
Phillips was a contemporary of Lawrence and offered a more subdued style based on his study of Old Masters. "His best works are full of character and show him to be in the top rank of portrait painters" (The Dictionary of Portrait Painters in Britain up to 1920.)

SIZE: 40.5 x 35.75 inches inc. frame
30 x 25 inches canvas size.
PROVENANCE: By family descent.
Deceased Estate, Dorset.
VERSO: Three handwritten labels including one tracing Elizabeth's descendants to the present day.

Ref: 8629
This item has been sold

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