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SOLD....Portrait of a Gentleman of the Popham family c.1700: Attributed to Edward Byng.
Oil on canvas in period carved and part giltwood frame.

The sitter, radiating an air of well fed confidence, wears a large and very expensive wig. The expression 'bigwig' for a rich or important person comes from this fashion.

The first Littlecote House in Wiltshire was built during the 13th century. A medieval mansion, it was inhabited by the de Calstone family from around 1290. When William Darrell married Elizabeth de Calstone in 1415, he inherited the house. His family went on to build the Tudor mansion in the mid-16th century. Henry VIII courted Jane Seymour at the house; her grandmother was Elizabeth Darrell.
Sir John Popham bought the reversion of Littlecote, and succeeded to it in 1589; he built the present Elizabethan brick mansion, which was completed in 1592.
Elizabeth I, James I, Charles II, and William of Orange stayed there, William on his march from Torbay to London in the Glorious Revolution. Popham's descendants, the Pophams and (from 1762) the Leyborne Pophams owned the house until the 1920s. The Leyborne Pophams refurbished much of the house in 1810. They retained it until 1929, when the house was purchased by Sir Ernest Wills, 3rd Baronet.
In 1985 the house was sold to Peter de Savary and the house contents, including this portrait of a Popham gentleman, were sold by Sotheby's at a three day sale.

EDWARD BYNG (c.1676-1753) was a portrait and drapery painter. He was born in Potterne, Wiltshire and died there in 1753. He was assistant and drapery painter to Sir Godfrey Kneller, Court painter, from c.1693 and was chief assistant at the time of Kneller's death in 1723. He was instructed in Kneller's will to complete unfinished portraits.

SIZE: 38 x 33 inches inc. frame.

*By descent in the Popham family.
*Sotheby's sale, The Contents of Littlecote House, Wiltshire, 20-23 November 1985.
*Private Collection.
Ref: 8650
This item has been sold

SOLD....Portrait of a Gentleman of the Weaver family, c.1590-1610, British School.
Oil on canvas. To the left the coat of arms of the Weaver family, dated by the College of Arms as those in use from 1568 to 1635.
To the right, the number 28, almost certainly the age of the sitter.
The portrait sits within a good, distressed, black and gilt 'cassetta' frame.

This charming naïve portrait would have been painted by an itinerant painter moving from town to town. Self taught, they made portraits of the local gentry, and also painted inn signs.
Elizabethan and Jacobean 'primitive' portraits are very rare indeed as few have survived; they have a real directness and sense of period, as well as being highly decorative.

In all Elizabethan portraiture, including that of the Court, the image was always iconic, symbolising power, wealth and lineage and all these factors are present in this limner painting.
The family's heraldry is proudly emblazoned to the left and the sitter's expensive clothing and sword and dagger are shown whilst he holds his gloves in his right hand.
Weapons show that this is a gentleman, legally entitled to bear arms, and the gloves were a very expensive item and very important in Elizabethan upper class society being used as gifts, love tokens and even to issue a challenge.

Naïve though this portrait is the untutored artist has managed to capture a real sense of this young man's strong character; his eyes look directly at the viewer, with just a hint of the poetic melancholy so fashionable at the time.

The WEAVER FAMILY were of Norman extraction; they came to England in 1066 and were in Wales before 1200.
Humphrey Weaver was the first to use the Weaver name in c.1265 in Radnorshire, Wales.
The family were, for centuries, to be found principally in the three counties bordering Wales, viz. Cheshire, Shropshire and Herefordshire, but were also in London.
Their name was taken from the Manor of Weever, near Middlewick, Cheshire, held by the service of providing two fully equipped men-at-arms to help garrison Aldford Castle for forty days in time of war. They had a chapel in the churchyard of Middlewick, of which nothing remains, and the manor was sold in 1720 to the Wilbraham family by the Stanleys of Alderley Park, into whose possession it had come by descent.

A branch of the family moved to America in 1590 – Clement Weaver was settled in Waterton, Massachusetts by 1635.
Thomas Weaver, Attorney General in the Leeward Islands, West Indies became governor of Fort James in the Gambia, Africa where he was killed during a French raid in 1705.
Samuel Weaver became a freeman of the city of New York, April 10 1722.

SIZE: 30 x 24 inches unframed
42 x 36 inches framed

PROVENANCE: By repute, by descent through the family;
Welsh Private Collection since 1999.
Ref: 8533
This item has been sold

SOLD....Portrait of a Girl c.1680; Attributed to Mary Beale.
Oil on canvas in a fine quality carved and giltwood 17th century frame.

The sitter wears an animal pelt draped over her shoulder; this is not a garment she would ever have worn in her everyday life. Its purpose was to suggest the Classical world of Ancient Rome, so fashionable at the time. This was known as "elevating the sitter" and was supposed to confer a timeless quality upon the portrait.
The young lady is depicted within a feigned stone oval, this motif was used so often by Beale as to be almost her trademark. It also was intended to be a Classical reminder.

The leaf carved frame is a particularly good example of its kind.

MARY BEALE (1633-1699) was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.

She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street.

The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a patent clerk, and also due to the Great Plague of London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio.
She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet.
She became reacquainted with Sir Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits.
Mary Beale died in 1699 in Pall Mall, and was buried at St. James's, Piccadilly in London. Her husband died in 1705.

SIZE: 37 x 32 inches inc. frame.
PROVENANCE: Somerset Private Collection.
Ref: 8558
This item has been sold

SOLD....Portrait of a Lady 1601; Circle of Gortzius Geldorp
Oil on panel in 'cassetta' frame.

The portrait is inscribed upper right "Ao Stilo Veteri D. 11.7 bris. ADAMO Aet 23" The inscription translates: "In the year 1601, Old Style, on the 11th day of September, MY TRULY BELOVED aged 23".

(Protestants throughout Europe flatly refused to adopt the new Gregorian calendar introduced by Pope Gregory XIII in 1582; it would still have been a sensitive issue in 1601. The inscription is all early modern Latin rather than Italian and the Protestant sitter, and her husband, wished to stress their relgious identity; hence the use of 'old style' as 'new style' was Catholic.)

The sitter is contained within a feigned stone oval with the spandrels painted as if carved.

This beautiful portrait was painted to commemorate the marriage of this young lady; she proudly holds her right hand in a prominent position so the viewer may admire her large diamond engagement ring and her gold marriage band. (At this time wedding rings were worn on any finger on either hand.) The pearls on the sitter's wrist signify purity and innocence.
Her hairline is fashionably plucked to increase the size of her forehead, this was considered to enhance female beauty.

This painting is an excellent example of the portraits popular with wealthy Dutch burghers.
The sitter is soberly but richly dressed in a cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, richly silver embroidered sleeves, and a long black 'vlieger' overgown. The latter denotes that she is a married woman and was worn with great pride.

Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.

The artist invests the portrait with a joyous dignity, the beautifuly painted face seems to glow with life.
He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex silver stitches which create the patterns on her sleeves.
Black was the high fashion of that era and the artist rises to the challenge of painting black on black to depict the subtleties of the garments.

Beautifully moulded by light and colour, this portrait has the lively human presence of a happy young woman that reaches across the four centuries since her marriage.

After training in Antwerp, first with Frans Francken and later with Frans Pourbus, he became court painter to Charles of Aragon, Duke of Terranova. In 1604 he went with the Duke to Cologne, where he remained for the rest of his life, working primarily as a portrait painter for the well-to-do. Most of his 70 works are painted on panel. Nine examples of his work are in the Rijksmuseum, Amsterdam. The sitters were painted either three-quarter-length, half-length or head and shoulders, they are traditional in style but painted in a smoother manne than portraits by the old Cologne masters.

SIZE: 29 x 21 inches panel size
34.5 x 25.75 inches inc. frame
PROVENANCE: Private Collection, Huntingdon since c.1780.
Verso, pencil inscription 'Breakfast Room. No. 4'
Ref: 8548
This item has been sold

SOLD....Portrait of a Lady 1920s, by Thomas Cantrell Dugdale
Oil on canvas, signed lower right.

There is a theatrical as well as a society air to this beautiful portrait of the 1920s.

Verso is in a more modern label which gives the name of a former owner, Patricia Dunham.

In our portrait the sitter is glamourously attired in cloche hat, elbow length gloves, double string of pearls and fur coat draped over her knee in a style typical of the late 1920s.
This is a superb portrait, painted with all the 'brio' you would expect from Dugdale, yet extremely sensitive in its characterisation of the sitter. This painting is absolutely redolent of its period.

THOMAS CANTRELLE DUGDALE RA (1880-1952) had a flourishing career as a society portrait painter and in the National Portrait Gallery there is his painting of the young actress Wendy Hillier, in strident pose, wearing jodhpurs and open shirt. Recently another of his portraits, of the actress Jessie Matthews is believed to have been purchased by Andrew Lloyd Weber.
Dugdale's work is also in the Tate, Courtauld Istitute of Art, Manchester City Art Gallery and other collections.

SIZE: 41 x 33 inches inc. frame.
*Painted for the Dunham family and in their possession until sold some years ago. In the family it was known as "The Roaring 20's"; the sitter's name seems to be lost.
{information from Martyn Dunham, great great nephew of TC Dugdale.)
*A private collection in an East Anglian Elizabethan country house.

Ref: nrfk6
This item has been sold

SOLD....Portrait of a Lady 1928, by Stephen Makepiece Wiens.
Oil on canvas in slim modern frame. Signed and dated upper right 'S.M. Wiens. 1928'.

Typical of its period with its bold colours of the Jazz Age, the sitter wears her hair in a fashionable Marcel Wave and bob. Her dress is a simple low waisted shift, also the peak of fashion at this time.
She looks pensively into the distance, lost in thought, as if aware the the Roaring 20s were merely an interlude between one world war and another, with the despair of the Great Depression running from 1930 until the outbreak of war in 1939.

Siegfried (Stephen) Makepeace Wiens (1871-1956). Born in London in 1871 of German descent, he changed his name from Siegfried to Stephen. Studied at the Royal Academy Schools 1893-8, winning prizes.
His later years were spent in Worthing, Sussex where he died at the age of 85.
Six of his paintings are in the Worthing Museum and Art Gallery, and more in the Tate, London, and Brighton Art Gallery.

WIEN'S ADRESSES: 19 Honor Oak Road, Forest Hill, London SE 1, 1901 - 1916.
(Listed at other addresses as well between these dates.)
42 Addison Road, Hove, Brighton. 1928 - 1935.
Bergamo, The Glen, Worthing, Sussex. 1937 - 1945.

Exhibited at The Eighty-Fifth Autumn Exhibition at the Rooms of the Society, New Street (Royal Birmingham Society of Artists), 1911-1912.

Exhibited at The Exhibition of the Royal Academy of Arts (Summer Exhibition), 1893 - 1945.
(Exhibited 20 times, 23 works in all.)

Exhibited at Festival of Britain, London: 'Ten Decades, a Review of British Taste, 1851-1951'.
(Wien's 'Girl and Lizard' was lent by the Tate Gallery.)

SIZE: Canvas 40 x 30 inches.
PROVENANCE: Sussex Private Collection.
Ref: 8692
This item has been sold

SOLD....Portrait of a Lady 1931, by Flora Lion
Oil on canvas, signed and dated upper right.

A superb and insightful portrait of a young woman, relaxed and lost in thought.

FLORA LION 1876–1958
Portrait, landscape and genre painter and lithographer.
Born 3 December 1878 in London of an English father and a French mother; married Ralph P. Amato, who adopted her name, in 1915. Studied at St John's Wood School of Art 1894, the R.A. Schools under Sargent, Clausen, Solomon J. Solomon and Arthur Hacker 1895–9, and at the Académie Julian in Paris under J.-P. Laurens 1899–1900.
Member of the R.O.I. 1909, the National Portrait Society 1910 and the R.P. 1911; exhibited at the R.A. from 1900. Awarded the Silver Medal of the Société des Artistes Français 1921 and the Gold Medal 1949. Died in London 15 May 1958.

During the First World War she was commissioned to paint factory scenes of the home front, two of which are in the collection of the Imperial War Museum, London. Among her later commissions were a group portrait of a young Elizabeth Bowes-Lyon, Duchess of York flanked by two cousins; a portrait of the wife of the Spanish ambassador, for which she received the Silver Medal, 1921, from the Société des Artistes Francais; the suffragette Flora Drummond (1936); the celebrated conductor Sir Henry Joseph Wood (1937); and, a second time in 1940, Elizabeth Bowes-Lyon, by then queen-consort to King George VI.

She received the Gold Medal from the Société des Artistes Francais in 1949.
Her work is in the National Portrait Gallery, the Tate Gallery and others.

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, "The Modern British Paintings, Drawings and Sculpture", London 1964.

SIZE: 30 x 25 inches unframed.
PROVENANCE: Private collection, an East Anglian Elizabethan country house.
Ref: nrfk7
This item has been sold

SOLD....Portrait of a Lady c.1660 (possibly Anne Lindsay, Duchess of Rothes) ; Follower of Jan Mytens
Oil on canvas in reproduction frame of appropriate type and period.

A charming portrait of an attractive lady with a direct but modest gaze.
The artist strongly influenced by Mytens, especially in the rendering of the shimmering silk dress.

It is possible that this is Lady Anne Lindsay (born before 1638) who was the daughter of John Lindsay, 17th Earl of Crawford, and Lady Margaret Hamilton. She married John Leslie, 1st Duke of Rothes, and had two daughters.
The Duchess was a Presbyterian and favoured the doctrines of the Covenanters.
A portrait by David Scougall of the Duchess in later years exists.

(Our thanks to Aileen Munro-Cameron for help with the above)

JAN MYTENS (1614-1670) worked in The Hague as a portrait painter for over thirty years painting those loyal to the House of Orange as well as a number of British visitors. His work was much admired and he was very influential in Dutch portraiture.

SIZE: 26 x 21 inches canvas size; 32 x 27 inches inc. frame.

Verso: three old labels.
Collection of Mrs. John Harrison Jr. (Exhib.1957)
Newman Galleries, Philadelphia
A private collection
Ref: 8397
This item has been sold

SOLD....Portrait of a Lady c.1660; Circle of John Michael Wright
Oil on canvas in a veneered ogee frame surmounted by the sitter's coat of arms.

The sitter is depicted in the Arcadian landscape so fashionable at the time [Arcady, or Arcadia, was the mythical land where beauty, innocence and joy reigned].
Unusually, the sky is depicted as stormy and dark, but this serves only to emphasise the serene beauty of the young woman who appears radiant against the darkness.
The sitter is as yet unidentified, [the arms are not those of the Thorolds], so it seems most likely that she married into that family in the mid 17th century.

JOHN MICHAEL WRIGHT (1617-1694) was one of the most successful native English artists of the seventeenth century. With earlier contemporaries such as Robert Walker and William Dobson, he was one of only a few English painters to find favour amongst the top echelons of society. At the height of his fame, he styled himself ‘Pictor Regius’ [The King’s Painter]
His career was all the more remarkable in an era when patrons continued their traditional preference for foreign artists, as they had done from Holbein to Van Dyck.
Wright’s success lay in his uniquely diverse artistic background and training. Although born in London, he first trained in Scotland under George Jamesone. He then left for Italy and stayed in Rome for a decade from 1642, working amongst contemporaries such as Poussin and Velazquez. In 1648 he became a member of the Academy of St Luke. He returned to London in 1656, after having spent time in France and Flanders. No other English artist before Wright had travelled and studied so extensively on the Continent.

SIZE: 46 x 38 inches canvas
60 x 47 inches framed inc. crest.

Syston Hall, Grantham [demolished in 1923] the former seat of the Thorold family. (NOTE: the fifth image shows Syton Hall in the early 20th c)
By descent to John Thorold.

Verso: a damaged handwritten 19th c. label: "Gertrude Sophia Caler... From: ...Wharton Ing...dle"
Ref: 8452
This item has been sold

SOLD....Portrait of a Lady c.1675 by a Follower of Sir Peter Lely
Oil on canvas.

A strong and pleasing image by an artist as yet unidentified but very strongly influenced by Sir Peter Lely; the drapery is depicted in a flamboyantly painterly manner, with a real enjoyment in the handling of the medium. The sitter is wearing the fashionable 'undress' of the period and has a direct and rather provocative look.

SIR PETER LELY (1618-80) was the dominant Court and Society portraitist of the reign of Charles ll, noted for the sensual way he portrayed many of the female members of the permissive Court. Lely was appointed Principal Painter to the King in 1661 and knighted in 1680; his influence on portraitists of the time was profound.

PROVENANCE; a Kent private collection.
This item has been sold

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