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SOLD ITEMS
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SOLD....Portrait of a Young Lady c.1690-1700: By Charles D'Agar.
Oil on canvas in a a period giltwood frame.

The young woman, little more than a girl, stands as if on the terrace of a large country house; she holds a basket of flowers signifying her youth, beauty and its transience.
An elegant and fashionable silk shoe peeps out from under her skirt; the way the flowing robes are shown suggests a feeling of movement as if the sitter has just walked in and paused for a moment.

The sitter's identity is not known, but, tantalisingly, on the frame a fragment of handwritten label survives
"....ell of Lanherne.....ed......7th Baron".
The most notable family in Lanherne, Cornwall were the Arundells, an ancient and noble family. Might this label have once read ".......Arundell of Lanherne married ......7th Baron"?

D'Agar's manner is directly comparable in style to Michael Dahl, whose treatment of portraits of children in particular is similar. The size, c. 60 x 40 inches would seem to have been a standard dimension for Dagar's child full-lengths - and they often employ the same staging device, whereby the sitter is placed on a terrace, a landscape beyond. This portrait also employs D'Agar's trick of trailing drapery just cropped by the edge of the canvas.

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.

SIZE:69 x 47 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
VERSO: old label for Chapman Bros. of Kings Road, Chelsea.
Damaged handwritten label (details above).
Ref: 8733
This item has been sold





SOLD....Portrait of a Young Lady c.1695; Attributed to John Closterman.
Oil on canvas mounted on board in gilt frame.

A superb quality portrait of a young lady; she wears none of the fashionable Baroque accessories...pearl necklaces or ear pendants...instead she is depicted in her natural unadorned beauty.
At a time when many portraits were produced, a large number of them depicted the sitters in a sterotypical, stylised manner. That is not the case here; this is a remarkably sensitive and extremely talented painting.

The portrait has, at some time in the past, been reduced in size. However, this has not had an adverse effect on the image; on the contrary, as the young woman now fills her space within the frame it is as if she has moved closer to the viewer, creating a strong feeling of intimacy.

This portrait can be dated roughly to the turn of the eighteenth century, a period which corresponds with Closterman's most prolific period in England.
Closterman is notable for having contributed a Baroque richness to his depictions of the seventeenth century English face and this sensitive work must be amongst his most successful portraits of a woman.

JOHN CLOSTERMAN (1660-1711) was born in Osnabruck, the son of an artist. His early training was from his father, but in 1679 he moved to Paris where for two years he studied under the portraitist Francois de Troy.
In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.

By 1683 he had developed an independent practice.His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.
He lived in great splendour in his house in Covent Garden with his wife Hannah.

An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of 'Master of the Baroque Portrait'.

SIZE: 22.5 x 16 inches inc. frame.
PROVENANCE: Staffordshire Private Collection.

Ref: 8611
This item has been sold





SOLD....Portrait of a Young Lady c.1730; Attributed to Joseph Highmore
Oil on canvas in early 19th c. gilt frame.

This fine portait of a young woman has a real Baroque swagger to it; the lady seems almost to be moving across the canvas, her silken robe billowing behind her.
The material of her gown and robe have the expensive-looking rather metallic sheen associated with Highmore's treatment of material.
The sitter looks directly at the viewer with confidence and candour.
The veins of her left hand can be seen faintly shown in blue; at this period, and earlier, for a woman to have a semi-translucent skin and bue veins showing was considered very attractive and well bred...hence the expression 'blue-blood' for members of the aristocracy.

JOSEPH HIGHMORE (1692 - 1780) was born in London, on June 13th 1692. He was the third son of Edward and Mary (Tull) Highmore. His father was a coal merchant in Thames Street. He was articled as clerk to an attorney in 1707, but his ambition was always to paint, and he studied for two years at the academy founded by Sir Godfrey Kneller in Great Queen Street.

Beginning as a professional portrait painter in 1715, he gained clients from the City merchants who approved of what they perceived to be his ability to convey likeness and character without ostentation. He married in 1716, and a move in 1723 to a house in Lincoln's Inn Field marked his growing business and prosperity.
By the 1730s his style had become more polished and sophisticated.

Highmore's contribution to a folio of engravings relating to the Order of the Bath and its ceremonies obtained him a number of commissions from the Knights of the Order.
His series of paintings in illustration of Samuel Richardson's novel "Pamela" and small, full-length, single and group portraits of the same period and style, were his principal achievement of the 1740s. As a result of the paintings, Highmore became a close friend of Richardson, and not only painted illustrations for Richardson's other novels, but also portrayed the novelist himself.
Highmore retired as a painter in 1761 and left London to live with his family at Canterbury in 1762. He died at Canterbury, on March 3rd, 1780.

SIZE:45 x 36.75 inches inc. frame.
PROVENANCE: Private Collection, Southern England.
Ref: 8604
This item has been sold





SOLD....Portrait of a Young Lady c.1910; by Ambrose McEvoy.
Oil on canvas in replica cassetta frame.

A beautiful portrait of an attractive young woman; lost in thought, her gaze passes the viewer.
The image has a great sense of calm and peace.
McEvoy's treatment of the face is sensitive and insightful, painted with great care, whereas in the drapery he indulges in a painterly delight in manipulating the medium...the lace is depicted in a free and almost impressionistic manner.

Ambrose McEvoy was one of the most successful British portraitists of the early twentieth century
and one of the most adventurous British artists of his time. He frequently experimented with composition and technique, and was one of the first artists to focus on mixing artificial and natural light in his portraits. As a result, the sitter here is illuminated with a gentle, golden glow.

This portrait is a fine example of McEvoy’s noted ability to combine classical painting with modernism.


AMBROSE MCEVOY (1878-1927) was born in Crudwell, Wiltshire. Encouraged by Whistler, who spotted his talent early on, McEvoy enrolled at the Slade School of Fine Art in London when he was fifteen. At the Slade he was part of the group around Augustus John and William Orpen. McEvoy had the reputation for a fine technical skill in oils, learnt from study with Whistler. He later worked with Walter Sickert in Dieppe. While at the Slade he was fellow pupil of Gwen John, with whom he had an unhappy affair.

From 1900 he exhibited at the New English Art Club (NEAC), and became a member in 1902. In the same year he married the painter Mary Edwards (1870–1941). In 1907 he held a one-person exhibition at the Carfax Gallery. In 1911 he was a founder-member of the National Portrait Society, and in 1913 he became a member of the International Society.

At NEAC he exhibited landscapes and interiors. After about 1915 he established a reputation as a portrait painter of fashionable society beauties.

During World War I he was attached to the Royal Naval Division from 1916–18, and painted a number of distinguished sailors and soldiers, now in the Imperial War Museum and the National Maritime Museum.

McEvoy visited New York and exhibited there at the Duveen Galleries in 1920. In 1924 he was made an Associate of the Royal Academy and of the Royal Society of Portrait Painters, and of the Royal Watercolour Society in 1926. He also exhibited at the Grosvenor, Grafton and Leicester Galleries.

McEvoy died in Pimlico, London, on 4 January 1927. In 1928 he was represented in the Royal Academy Late Members Exhibition. In 1933 he was memorialized together with Orpen and Charles Ricketts in an exhibition in Manchester.
Ref: 8669
This item has been sold




SOLD....Portrait of a Young Man; English School c.1700.
Oil on canvas in a good period carved and giltwood frame.

The sitter, parkland in the background, stands hand on hip, wearing one gauntlet and holding another. Gloves were very expensive and often used as a symbol of gentility and wealth. In the 16th and 17th centuries they were highly valued gifts and often given as love-tokens.
The young man's stance and the way he wears his robe were all used to suggest a connection with the long vanished Imperial Rome...the Classical world was very fashionable at the time.

The artist has a slightly naive, almost sculptural style...very pleasing and direct.
He was probably one of the many unknown travelling artists of the period who wandered over the country painting the lesser nobility and gentry.


SIZE: 37 x 32 inches inc. frame.
Well carved period frame (damages).
PROVENANCE: English Private Collection


Ref: 8473
This item has been sold




SOLD....Portrait of a Young Midshipman c.1790; Circle of Lewis Vaslet.
Oil on canvas in Georgian giltwood frame.

A charming small scale portrait of a young midshipman in the Royal Navy at the end of the 18th century, probably painted for the boy's parents before he joined his ship.
England was engaged in a long and bloody war with France and the navy was our first line of defence.
The life of a midshipman on a man-of-war could be very short indeed. As an apprentice officer the youth was expected to be able to climb the riggiing to act as a lookout, learn navigation and seamanship, command one of the ship's boats and in action he would command a group of the ship's guns, or take charge of signals or act as a messenger for the captain.
A lot of responsibility and risk at a very young age, but if he lived and rose through merit he could achieve high rank.
The good-looking sitter, sensitively painted, looks out at the viewer, his pensive gaze encouraging thoughts of his extreme youth and vulnerability on active service at sea, but the boy also projects an air of quiet determination and confidence.

LEWIS VASLET (VASLETTE) 1742-1808. Born in York, he became a lieutenant in the 25th Regiment of Foot. Leaving the army, he travelled to Italy. He exhibited ten times at the Royal Academy between 1770 and 1782. He worked from York in 1770, 1771 and 1778, Bath 1787, Norwich 1793 and Oxford1780, 1790 and 1796 where he advertised himself as an 'artist in miniature and likenesses' working in oils and pastels. He married a lady of means. Buried at St. Michael's, Bath in 1808.
"His style is usually accomplished, charmingly naive with pleasantly subdued colouring" (The Dictionary of Portrait Painters in Britain).

SIZE: 11 x 9 inches inc. frame.
PROVENANCE: Somerset Private Collection
Ref: 8559
This item has been sold





SOLD....Portrait of a Young Nobleman c.1630; Studio or Circle of Daniel Mytens.
Oil on canvas in carved and giltwood frame.

This is a fine portrait of a young aristocrat painted in the typical swagger pose favoured by Mytens for his noble sitters (v. his portraits of Richard Rich, Earl of Warwick, King Charles I, and William Knollys, Earl of Banbury among others).
Yet despite the aristocratic posture the artist manages to sensitively convey a sense of a slight insecurity in the boy as he is painted, perhaps for the first time, as a man.
His identity is, as yet, unknown, but his expensive and fashionable clothes are of the Court.

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt.

By 1618, he had moved to London where his initial patron was the leading art collector Thomas Howard, 21st Earl of Arundel. Mytens painted the Earl and his Countess, and was soon commissioned to paint King James I and his son Charles, Prince of Wales. In 1625 he became painter to King Charles I.

After the prince's accession to the throne as Charles I in 1625 Mytens produced such a large number of full length portraits of Charles I and his courtiers, including duplicates, that it is assumed that he had workshop assistance. Mytens made visits to the Netherlands in 1626 and 1630, perhaps to study the latest developments in his field, more particularly the works of Rubens and Van Dyck.

Mytens introduced a new naturalism into the English court portrait, but after the arrival in England of Anthony Van Dyck in 1632 he was superseded as the leading court portraitist, and around 1634 he appears to have returned to the Netherlands permanently.
Some of Mytens' works are still owned by the Royal Family.

SIZE: 51 x 42 inches inc. replica frame.

PROVENANCE:
with the Simon Carter Gallery in 1990;
London Collection of Severin Wunderman.

SEVERIN WUNDERMAN Born Brussels, 1938.
Died Nice, 2008.A child Holocaust survivor he built up a multi-million pound business in luxury watches and became a major art collector and philanthropist. In the 1970s he set up watch production for Gucci, which he ran and controlled for over 25 years until Gucci Timepieces was bought back by the family in 1998.

Diagnosed with inoperable lung cancer in the 1990s, he promised the specialist, who was reluctant to treat him, $5 million a year in research funding for every year he survived.
This resulted in the Severin Wunderman Family Foundation for research into incurable illnesses. He eventually died from a stroke.
He was a board member of Steven Spielberg's Shoah Foundation and received the Légion d'Honneur in 2005.

This portrait hung in the hall of his London house until his death. Wunderman also owned a French Chateau in the Cote d`Azur and a penthouse in Los Angeles.
Ref: 8531
This item has been sold





SOLD....Portrait of a Young Nobleman c.1635; Attributed to Gilbert Jackson.
Oil on canvas in gilded frame.

The unknown young aristocrat, in what seems to be Court dress, wears an absolute fortune in clothing; sumptuous silk, satin and lace decorated with fine embroidery, even the inside of his cloak is richly ornamented.
In his left hand he holds his fashionable hat and in his right a document which seems to have some form of plan drawn on it...posible referring to the event this portrait was painted to commemorate.

GILBERT JACKSON (active 1621-1640) was an itinerant portrait painter who seems to have worked in North wales in the 1630s. He also had an academic clientele in Cambridge and Oxford.
Jackson was made a Freeman of the Painter-Stainers Company, London in 1640.
His work, like this one, tends to be highly finished, with an eye for detail and although it follows in the manner of Cornelius Johnson it retains a charmingly naive quality.

SIZE: 45.5 x 38 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
Ref: 8732
This item has been sold





SOLD....Portrait of a Young Woman as Selene, Goddess of the Moon c.1910; by Mela Muller
Oil on canvas in modern giltwood frame, signed, bottom right, 'MULLER MELA.'

This exquisite portrait of a beautiful young woman depicts her as Selene, the Moon Goddess.

Shown in profile, with closed eyes, the sitter conveys a feeling of tranquility and an intriguing sense of both the erotic and the innocent.
Moonstones in her hair represent the stars, the gleaming robe of the Milky Way is around her and she holds a corn plant... vitally important as a constituent of bread - the staff of life. Corn also symbolised plenty.

In Greek mythology Selene was the daughter of Hyperion and Theia, the sister of Helios the Sun God and Eos the Dawn.
Selene, "the eternally beautiful", is one of the triple goddesses of the Moon: Artemis - the waxing moon, Selene - the full moon, and Hecate - the waning moon.

Selene is the mother goddess...a symbol of womanhood, and is represented by the full moon, where she is at the height of her reproductive potential.
Known to the Romans as Luna, she is responsible for the germination of seeds and new crops.
The days of the full and new moon were set aside for her worship.
The calenders and rituals of her worship helped people to measure time to know when it was best for planting and harvesting.

Appropriately for a goddess who represents the life force she was known for her many love affairs.
The moonstone is her gem and her colour is silver, grey white.

MELA (MELANIE) MULLER was born in Budapest in 1879 and died in 1933.
At the present there is little information available on this talented Hungarian painter and her works seem to be very rare.

SIZE: 33 x 29.5 inches inc. frame.
PROVENANCE:
*Sold Sotheby's, lot 144, 4 May 1988.
*Hampshire Private Collection.


Ref: 8679
This item has been sold





SOLD....Portrait of Admiral Richard Lestock c 1740, attributed to John Wollaston.
Oil on canvas in a good late 18th c. giltwood frame.
Lestock looks confidentally out at the viewer, in the background, close to a shore fort, two ships-of-the-line engage in battle.
A similar,later, image of Lestock just before his death in 1746 is in Tha National Maritime Museum. This is an engraving after a portrait by Wollaston.

RICHARD LESTOCK 1679-1746 was an officer in the Royal Navy, eventually rising to the rank of Admiral. He fought in a number of battles, and was a controversial figure, most remembered for his part in the defeat at the Battle of Toulon, and the subsequent court-martial, at which he was acquitted.
On 3 June 1746, just two days after his acquittal he was promoted Admiral of the Blue and given command of a large squadron. The original plan called for the launching of an assault on Quebec, but an attack on the French port of Lorient was decided instead. Despite planning difficulties, the force was landed and nearly succeeded in taking the city. The result was ultimately a failure and was viewed as such by a disappointed public, but Lestock appears to have acquitted himself well. After the success of the operation, he hoped to receive an appointment to command a spring expedition to North America, but his health suddenly declined, and he died of a stomach ailment on 13 December 1746.

COMMANDS HELD:
HMS Vulture
HMS Fowey
HMS Weymouth
HMS Panther
HMS Princess Amelia
HMS Royal Oak
HMS Kingston
HMS Somerset
HMS Grafton
HMS Boyne
HMS Neptune

BATTLES/WARS
Battle of Vélez-Málaga
Battle of Toulon (1707)
Battle of Cape Passaro
Battle of Cartagena de Indias
Battle of Toulon (1744)

JOHN WOLLASTON (active 1738-1775) was the son of a London portrait painter, also called John.
Wollaston worked in England until 1749 when he left for America, where he had considerable influence. He worked in New York 1749=52, Maryland 1753-4, Virginia c.1755-7 and Philadelphia 1758.
He moved to the west Indies in c.1758; in St. Kitts1764/5, Charleston 1767 and returned to England in 1767.

SIZE:48 x 41.25 inches inc. frame.
PROVENANCE: Burrow Hall, Lancashire.
Verso: old pencil inscription "Heirloom Harewood".
Ref: 8731
This item has been sold



 
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