Portrait of Thomas Selkeld 1836, by William ...

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Oil on canvas in original gilded frame.

A good portrait of the William IV period; Thomas Selkeld, elegantly dressed, regards the viewer with a direct, slightly quizzical, look.

The SALKELDS are an ancient and notable family who have occupied all levels of society.
The Salkeld name is a locative one derived from Great and Little Salkeld, two villages situated in the Eden valley in Cumberland between Carlisle and Penrith. Like a number of Lakeland names Salkeld comes from the Old Norse and means ‘Willow wood’. There were early Salkelds settled in Addingham, near Little Salkeld in the Eden valley by the 13th century.

Among the many mistranscriptions there are five variant spellings which are notable for their consistency and number of occurrences. These are: Salkield; Salkilld; Sawkill; Soakell and Sokell. The closer you get to Cumberland, the less variations there are, and of the above, Salkield is principally in County Durham, Sawkill equally divided between Durham and Yorkshire, Sokell mainly in Yorkshire and Salkilld in London. It is not uncommon however to find Salkeld and one or more variants in the same parish.

Gifts from the King saw the Salkelds settled in Corby Castle on the river Eden. Sir Richard Salkeld, Lord of Corby married Jane Vaux of Catterlen in the mid 15th century. Their effigies are in Wetheral church, opposite Corby Castle. They had no male heirs, but the two eldest daughters married male cousins and kept the noble line going.
In the early 17th century Lord William Howard, son of the 4th Duke of Norfolk had made over to him Corby Castle from the Salkelds, in settlement of a debt.
Lancelot Salkeld was the first Dean of Carlisle cathedral and erected the Salkeld screen, which you can see in the cathedral to this day.

THOMAS SALKELD was the son of Thomas Salkend (born 1778), a farmer of 35 acres, and Hannah Nicholson (born 1775), and he was born in 1803, making him 33 at the time of the portrait.
Thomas was a solicitor and lived in Appleby in a large Victorian house which is now the HSBC. He was a Town Councillor in 1849.
The family maintained an apartment in this building to the present day, and this portrait came from there.

Our thanks to Keith Salkeld for his help.

WILLIAM BELL SCOTT 1811-1890 was a Scottish artist and poet, but little else is known of him at this time. Clearly he was a talented and perceptive artist and is worthy of more research.

SIZE:42.5 x 37.5 inches inc. frame.
PROVENANCE: By descent.

Portrait of Mrs Christian c1780; Attributed to ...

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Oil on canvas in reproduction frame.
A charming portrait of this atractive young lady, seemingly lost in thought. She is dressed in the height of fashion of the time, her wig lightly powdered and a silk shawl draped negligently over her arm.

JOHN FOLDSONE (FOLDSTONE) fl.1769-1784. He was a portrait and history painter but only portraits are known.
He enjoyed success from 1769, living in London, in Little Castle Street, and later in Newman Street, but died young in 1784 leaving a wife and children.
He was the father of the miniature painter Mrs. Anne Mee.
Foldsone exhibited at the Society of Artists of Great Britain 1769-70 and the Royal Academy 1771-83. His speciality was small portraits such as this one which he painted at the sitter's home. This portrait, like much of his work, shows the influence of Reynolds and Romney.
His pair of portraits showing Elizabeth Haffey, and her brother, John Burges Haffey, as children, were engraved in mezzotint by Robert Laurie.
Foldsone's work can be seen at the National Trust property Stouhead and at Grimsthorpe Castle.

SIZE: 26 x 22 inches inc. frame.
VERSO: partial old handwritten label "Mrs. Christian, mother of Harriet, afterwards Mrs. Norman Co..."
PROVENANCE: English Private Collection.

SOLD....Portrait of a Young Gentleman c.1645; attributed ...

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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.

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.

SOLD....Portrait of a Lady 1601; Circle of ...

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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'

SOLD....Portrait of Mary Dowdeswell c.1695; by Michael ...

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Oil on canvas in feigned oval within rare William Kent architectural carved and gilt frame c.1740, the sides decorated with finely carved oakleaves and acorns. The reverse of the frame bears old dealer's labels with the name of the sitter, the provenance and an erroneous attribution to Highmore.

The DOWDESWELLS are an old Gloucestershire family where they lived at Pull Court near Tewksbury from the 15th to the 19th century.
In the 19th c. the house was sold and is now a school.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
At his best he was a finer portraitist than any of his contemporaries, with a softer and more gentle technique than Kneller's, which was especially suitable for his portraits of women.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here Mary looks out at the viewer with a quiet and intelligent good humour...in every way this is a superb painting.

Size: 35.25 x 26.75 inches canvas size.
43 x 34.75 inches inc. frame.

Provenance: by descent through the Dowdeswell family of Pull Court.
with Frost and Reed of St. James's, London.
with Anderson Galleries, Chicago.
American Private Collection.
(Verso: old dealer's labels).


SOLD....Portrait of a Gentleman c.1770; Circle of ...

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Oil on canvas in a late 18th century giltwood frame.

The handsome young man sits pensive, his thoughts far away, probably concerning the letter he holds in his right hand...a letter from his beloved?
The portrait is painted with great sensitivity and demonstrates the chiaroscuro that was a characteristic of Wright.
The typical traits of Wright’s portraiture are apparent – an easy handling of the fall of light that diffuses over the sitter’s face, and along the shoulders of his coat to give the soft appearance almost of pastel – a reminder that Wright was also an accomplished painter in chalks and pastels.

JOSEPH WRIGHT (1734 – 1797), styled Wright of Derby, was an English landscape and portrait painter.
Wright is notable for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on the meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.
Joseph Wright was born in Irongate, Derby. Deciding to become a painter, he went to London in 1751 and for two years studied under Thomas Hudson, the master of Joshua Reynolds. After painting portraits for a while at Derby, Wright again worked as an assistant to Hudson for fifteen months.
In 1753 he returned to and settled in Derby; he also spent a productive period in Liverpool, from 1768 to 1771, painting portraits. These included pictures of a number of prominent citizens and their families.
Wright married Ann (also known as Hannah) Swift on 28 July 1773.
Wright and his wife had six children, three of whom died in infancy. He established himself at Bath as a portrait-painter, but meeting with little encouragement he returned to Derby in 1777, where he spent the rest of his life. Ann Wright died on 17 August 1790. On 29 August 1797 Wright died at his new home at No. 28 Queen Street, Derby, where he had spent his final months with his two daughters.[
Wright was a frequent contributor to the exhibitions of the Society of Artists, and to those of the Royal Academy, of which he was elected an associate in 1781 and a full member in 1784. He, however, declined the latter honour on account of a slight which he believed that he had received, and severed his official connection with the Academy, though he continued to contribute to the exhibitions from 1783 until 1794.

SIZE:37.25 x 32.25 inches inc. frame.
European Private Collection.
Private Collection, London.

SOLD....Portrait of a Lady c.1830; English School ...

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Oil on canvas in distressed giltwood frame.

The sitter, looking out with a quiet smile, is dressed in the height of fashion of the period with vast 'mutton chop' sleeves and a tiny waist, her hair tightly curled.
Her left hand and the wedding ring are prominently displayed, so this is almost certainly a marriage portrait. Her clothing is costly, the dress is silk and she rests her arm on an ermine robe - traditionally worn only by royalty and the nobility. Whether this signifies her own aristocratic status or the fact that she is marrying a nobleman is not known.
Painted just at the end of George IV's reign and the beginning of Wiiliam IV's, some seven years before Victoria came to the throne, this is a charming portrait thoroughly evocative of its period.

SIZE: 33 x 29 inches inc. frame.
PROVENANCE: Hampshire private collection.

SOLD....Portrait of Marie Mancini by Jacob Ferdinand ...

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SOLD...Oil on canvas in a carved and giltwood Louis XIV style frame.

This beautiful portrait shows Voet's skill at its finest; sensitive, sensual, insightful and with a real sense of the sitter's presence.

Although the stretchers are inscribed with the name Marie Anne Mancini, Duchesse de Bouillon, the portrait is far more likely to be Marie Mancini (Anna Maria Mancini).
The name Pierre Mignard is also inscribed but the artist is without doubt Jacob Voet.

MARIE MANCINI, Princess Colonna and Vicerein of Naples and Aragon (Anna Maria Mancini; 1639�1715) was the middle of the five Mancini sisters, nieces to Cardinal Mazarin who were brought to France to marry advantageously. "Dark, vivacious and beautiful,"(Sir Oliver Millar) Marie captured the biggest prize of the French court: the love of Louis XIV.
Marie did not consummate her relationship with the Sun King. His love for her was a somewhat idealistic one, but he was so besotted that he wanted to marry. Eventually, Cardinal Mazarin and Anne of Austria separated the couple, banishing Marie into exile and arranging Louis' marriage to his cousin, Maria Theresa of Spain.
In 1661, Marie was married off to the Italian Prince Lorenzo Onofrio Colonna, who remarked after their wedding night that he was surprised to find her a virgin as one does not normally expect to find 'innocence among the loves of kings'. (from Antonia Fraser's book 'Love and Louis XIV'). They had three children, all sons. After the birth of her third child, relations between Marie and her husband deteriorated. On May 29, 1672, fearing that he would kill her, Marie left Rome accompanied by her sister Hortense.
In 1677, in order to support herself, she wrote her memoirs. She did not return to Italy until her husband's death in 1689. She died in Pisa and is buried in the church of the Holy Sepulchre there.

JACOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century. He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture. Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Voet specialized in half-length portraits, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. He was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have very striking, memorable eyes, always large and evocative.
SIZE: 17.75 x 15 inches (unframed) 23 x 21 inches inc. frame.
PROVENANCE: French private collection. Verso: red wax collector's seal, probably 18th c. Various incorrect inscriptions, most likely early 20th c.

SOLD....Portrait of a Lady in Blue 1745, ...

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Oil on canvas in reproduction gilt frame.
Signed and dated lower left 'C. Sommers Pinxt 1745'.
This pleasing portrait is absolutely typical of its period. The artist clearly influenced by Thomas Hudson who was the fashionable portrait painter of the time.

CHARLES SOMMERS (fl. 1739-1753) worked in London and is known as a painter of small-scale full lengths often in the manner of Arthur Devis. This Hudsonesque portrait is not characteristic of Sommers; perhaps it was a special commission or an image of a member of his family?
He was successful enough to take on Richard Linnell as his apprentice in August 1752. His large group portrait of 'Sir William More-Molyneaux and Family'of 1739 is at Losely.

SIZE: 38 x 32.5 inches inc. frame.
PROVENANCE: Wiltshire private collection


SOLD....Portrait of a Lady c.1720; Follower of ...

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Oil on canvas in gilded frame.

A delightful portrait of a young lady in the early 18th century. Fashionably clad in her 'undress', her hair 'a la mode', she sits, lost in thought.
There are many hints that this is probably a betrothal portrait.
In her hair the lady wears pearls...symbol of purity and love.
To her right the sitter rests her elbow on an urn - the symbol of female fecundity - to further make the point, the urn bears an image of a naked nymph.

From the urn grows an orange tree. It was inconceivable to get married without flowers from the orange tree for the bride's bouquet. The orange tree's symbolic role came from the fact that the tree bears leaves, flowers and fruit at the same time. It was seen as an emblem of love and marriage; the leaves are always green and symbolise lifelong love, its white flowers symbolise the fiancee's sincerity, while the fruits, which ripen between the flowers, represent hope for an heir. Significantly, the sitter rests the flowers in her lap.

An especially charming aspect of this portrait is its size. Its three quarter length format was normally reserved for canvases of 50 x 40 inches, but this painting's size gives it a more intimate feel; possibly it was meant as a gift for the husband to be.

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, many very talented in their own right, emulated his fashionable style.

SIZE:29.27 x 26 imches inc. frame.
Canvas size: 22.75 x 19.25 inches.
PROVENANCE: The Collection of a Lady of Title, East Sussex.

SOLD....Portrait of a Gentleman c.1720: Circle of ...

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Oil on canvas in reproduction giltwood frame of correct type.

This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.

Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."

This a good example of the dignified English portrait of the period.

Hysing was born in Stockholm and was first apprenticed to a goldsmith from 1691-4, and then under David Krafft, Court Painter to King Charles of Sweden.
He settled in London in 1700, where he studied under Michael Dahl, also Swedish, for many years. He was on his own by at least 1715.
Hysing painted the the Queen, the royal princesses, George III as a boy, Sir Robert Walpole and other notables.
Alan Ramsay worked briefly in his studio in 1734.

SIZE: 40.5 x 30.5 inches inc. frame.
PROVENANCE: Yorkshire Private Collection.

SOLD.....Portrait of a Gentleman c.1720; Circle of ...

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Oil on canvas in original carved and giltwood frame.

A good quality early 18th century portrait by a member of Kneller's Circle, or possibly his Studio.
The artist, not as yet identified, had considerable talent.

The expensively dressed and wigged man (quite literally the local 'bigwig'!) gestures with his right hand towards what one presumes is his land and the flocks of sheep. Wool, the source of his wealth.

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. He maintained a busy studio with talented assistants to help with the demand for his work.

SIZE:58 x 48 inches inc. frame.

The frame is in basically good condition, with some signs of damage at the front, and there are a large number of old and inactive woodworm holes to the back. These do not affect the integrity of the frame and are harmless. Extensive losses to the gilt.

PROVENANCE: This portrait, with others of the same family, hung for many years in a large house in Essex until December 2009.