Triple Portrait of The Hon. Mrs. Denham ...

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Oil on canvas in giltwood frame, signed and dated "Edward Hughes 1896" lower left, on the stone plinth.

This superb triple portrait shows the Honourable Mrs. Denham-Cookes and her children Arthur Brownlow and Clara Evelyn in their garden at 16 Princes Gate, London. (This house is now the Iranian Embassy and is famous for its siege and capture by the SAS in 1980).

Their father was Colonel George Denham-Cookes, and his son Arthur followed him into the army, becoming a captain in the 24th Battn. London Regiment.
Prior to this he had become an M.A. Trinity Hall, Cambridge and a Member of the Inner Temple.
Arthur had married, in 1916, Ursula Bloom, the novelist, and in 1917 they had a son, Pip Denham-Cooke. Tragically, having survived the First World War, Arthur died of influenza in November 1918 aged 27.

EDWARD HUGHES (1832–1908) was a highly successful painter who exhibited at the Royal Academy, The British Institute, and The Grosvenor Gallery, displaying over the period from 1847 to 1892 a total of 69 works. He is best known for his genre pieces in the manner of Thomas Faed and in his later career for his portraits of the aristocracy, which strongly recall the ‘fancy’ pictures of J. E. Millais. Feted by the Victorian elite, Hughes’s art commanded high prices; his early work displayed a Pre-Raphaelite attention to detail, and his pictures produced in the final parts of the century are lavish and showy in the manner of Victorian impressionism, with a flamboyant emphasis on bright tones and light effects.

Both idioms embody a sharp understanding of the subject. Hughes was admired by his fellow-artists and drew approving comments. Millais – whose work he imitated – was thoroughly impressed, noting how many artists could draw a man, but Hughes was distinguished by his capacity to ‘paint a portrait of a lady'.
{Simon Cooke, Ph.D The Victorian Web.}

SIZE:52 x 46 inches inc. frame.
PROVENANCE: by direct descent through the family.

SOLD....Portrait of Captain Stewart 1814; by Thomas ...

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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.

SOLD....Portrait of Sir Maximilian Norris; Manner of ...

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SIR MAXIMILIAN NORRIS (also known as Norreys) was a relative of Henry Norreys, Keeper of the King's Privy Purse, who was executed in 1536 for alleged adultery with Queen Anne Boleyn.

Maximilian was one of five brothers who campaigned in Ireland and on the Continent against the Spanish; he was killed fighting in Brittany in 1593.
The present representatives of the Norris family are the Berties, Earls of Abingdon.

This painting dates from c.1800 (the frame dating from that period) and is a copy of a lost 16th century original. It is typical of much Elizabethan portraiture in it's iconic feeling, use of symbolism and the fashionable poetic melancholic appearance of the sitter, who wears the 'sable harness' or black armour also in fashion at that time.

Upper right the copyist has misspelt the knight's name as 'Maximisian' and upper left has incorrectly copied the Latin inscription as 'His Aut Nullis', which should read 'Hic Aut Nullus'. One can only presume the inscriptions on the original were indistinct.
Beneath the sitter's name can faintly be discerned an overpainted inscription.

The symbolism of the hand, sword and armillary sphere is interesting.
The use of the armillary would suggest that the sitter was linked to the Court of Elizabeth l; it was much used there, especially by the Queen, as a symbol of constancy and (specifically) Protestant religious fidelity.
The sword and hand represent military valour in pursuit of these virtues and the Latin translates as 'Without this, nothing'.

ROBERT PEAKE the Elder (c. 1551 – 1619) was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I.
Peake was the only English-born painter of a group of four artists whose workshops were closely connected. The others were De Critz, Marcus Gheeraerts the Younger, and the miniature painter Isaac Oliver. Between 1590 and about 1625, they specialised in slightly 'stiff feeling' portraits that are unique to England at this time. It is not always possible to attribute authorship between Peake, De Critz, Gheeraerts and their assistants with certainty.

SIZE: 45 x 41 inches inc frame.
PROVENANCE: Collection of a Lady of Title.

SOLD....Portrait of Lady Anne Cecil c.1635; Circle ...

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Oil on canvas in good quality 17th c. carved and giltwood frame.

LADY ANNE CECIL, COUNTESS OF NORTHUMBERLAND was born 1611/12 and baptised in the Chapel Royal, Whitehall, London. She was the daughter of William Cecil, Earl of Salisbury and Lady Catherine Howard. Anne married Algernon Percy, Earl of Northumberland before 1630 (date not known exactly) and bore him five daughters.
The portrait is unusual in that the sitter is clearly pregnant, her hand resting protectively across her belly. This well observed gesture exemplifies the greater interest in naturalism found in English paintings of the early 17th century.
The portrait is a symbol of the hope and need of these two great families for a male heir to the Earldom of Northumberland. Alas, no son was born and Anne, Countess of Northumberland died in December 1637 aged 26.

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE:47 x 39.5 inches inc. frame.

PROVENANCE: for many years in a Cheshire Private Collection.

A head and shoulders version of this portrait is at Lennoxlove House in the Collection of the Duke of Hamilton.
At Burghley House, ancestral home of the Cecils, is a beautiful portrait by Van Dyck of Lady Anne before her marriage.


SOLD...Portrait of a Lady c.1628; attributed to ...

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Oil on oak panel in fine 18th c. carved and giltwood frame.

A superb portrait typical of de Vos's style, the brushwork detailed, sensitive and rich in nuances, his colouring is ardent and full-bodied in the Flemish manner. His portraits glow with an air of prosperity and well-being.
De Vos was well-known for dignified portraits which nevertheless maintain a charming modesty, as is seen here. The reserved expression of the sitter and meticulous handling of the costume details are characteristic.

CORNELIS DE VOS (1585 - 1651) was admitted as a Master of the Antwerp Guild in 1606. In the early 17th century Antwerp was crowded with excellent painters. The art-loving wealthy merchants of the great trading city were able to employ a sizeable population of artists, who were also kept busy by the foreign demand for works of art from Antwerp.
Cornelis de Vos became one of the most respected artists in the city, whilst also active as an art dealer.
He worked with Rubens and Van Dyck, and his work has been mistaken for theirs, although his portraits are more closely dependent on the Flemish tradition than his celebrated Italianate colleagues.
Essentially of the School of Rubens, de Vos's portraits developed an individual and successful style and Rubens sent many sitters to him.

SIZE: 30 x 26 inc. frame.

Verso: an old collection seal in red wax, probably 18th century.

Private Collection, Cornwall.
Boarsney House, Sussex.


SOLD....Marble Portrait Bust of the Sculptor's Lover ...

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A superb quality marble bust by Janko Brayovitch (1889 - 1947).
The sitter, Brayovitch's mistress, exquisitely carved from a large block of fine marble, is depicted with her head gracefully turned and her downcast eyes are half closed, as if in some delicious, drowsy reverie. Despite the nudity and the unquestioned erotic charge of the sculpture there is a great sense of peace and a feeling of quiet contemplation.
It is signed on the reverse of the plinth 'J. Brayovitch' accompanied by a carved circular symbol, the significance of which is not known.

Born in Montenegro, Janko Brayovitch studied at the High Academy of Sculpture in Vienna. After the First World War he emigrated to Britain, where he settled in Hampstead, London.
Many of his works were portrait busts in marble, bronze or a mixture of both.

In 1928 he was invited to Canada to sculpt the famous soldier General Burnham and his wiife. These busts were unfortunately destroyed by a fire at the General's house in 1955.
Brayovitch was also commissioned to scupt a bust of Gerald Gratan McGeer, Mayor of Vancouver and reformer of the once corrupt police force. This remains at 453 West 12th Ave. Vancouver.
A bust by Brayovitch of 1933, 'Red Indian', is in the Tate Gallery, London and featured in the exhibition 'Head to Head' in 2004.

Apart from its beauty and the consummate skill of its creation what makes this bust utterly unique is that it is of Brayovitch's lover and therefore a very intimate piece.
It was kept by her long after his death in 1947 until the 1970's, when it was sold to a collector who owned it for the last 35 years or so.

SIZE: 24.5 inches tall.
* Janko Brayovitch.
*The sitter.
*Hillersdon House nr. Cullompton, Devon.

SOLD....Portrait of Charles I in armour c.1640; ...

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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.

SOLD....Portrait of a Young Girl c.1700; Circle ...

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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.


Portrait of a Lady as the Goddess ...

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Oil on canvas in black and gilt frame, modern but of correct type.

The young sitter is depicted in a landscape, dawn breaking to her left.
This beautifully executed portrait captures the shimmering quality of the sitter's garments...the silk, fine linen and delicate gauze all complement the delicacy with which the girl's face is painted.
The artist has expertly captured a sense of movement as the lady seems to move across the canvas, turning her head to regard the viewer.
The sitter holds a bow, her hound by her side.

The fashionably, and expensively, dressed young lady is depicted as Diana the Huntress, goddess of the hunt, moon and birthing.
The celestial character of Diana is reflected in her connection with light, inaccessibility, purity and virginity; all desirable attributes for a girl who was on the marriage market.

JAN MYTENS (Mijtens) (1614-1670) was a Dutch Golden Age artist, he 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.

Dutch family of painters of Flemish origin. The earliest known artist of this family was Aert Mijtens (1541-1602), a history and portrait painter who worked in Naples and Rome. His brother Martin Mijtens, a saddle and coach-maker, fled to the northern Netherlands and had two sons who also became painters: Daniel Mijtens I, who was prominent in England for a period as a portrait painter in the Stuart court, and Isaac Mijtens (c. 1602-1666), a portrait painter in The Hague.
Jan Mijtens was a nephew of these brothers and father of the portrait painter Daniel Mijtens II (1644-1688). Martin Mijtens I, himself a son of Isaac, moved to Sweden where he worked as a portrait painter in Stockholm, while his son Martin van Meytens II later became a portrait painter at the imperial court in Vienna. Several other minor members of the Mijtens family established reputations as painters.

SIZE:43.5 x 34.5 inches canvas size.
*Collection of Dr. Kurt Tchiassney, Vienna.
*Willed to a friend for his collection.
*By descent.
*Christie's, New York 2011.
*Private Collection, Yorkshire, England.

Portrait of Emily St. Clare 1803, by ...

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Oil on canvas in a good giltwood period frame.
Signed and dated 1803.

Emily St Clare was the mistress of Sir John Leicester (1762-1827), later 1st Lord de Tabley of Tabley Hall, Cheshire (see Image 9). From about 1800 Leicester commissioned fancy pictures of his mistress, Emily St Clare; he was obsessed with her and commissioned at least fourteen portraits of her by John Hoppner, William Owen, Henry Thomson and John Northcote during the first decade of the 19th century. A major patron of British Art, Leicester also commissioned paintings by Turner, Sir Thomas Lawrence and James Ward.
After Leicester's marriage on 9 November 1810, to a grand-daughter of the architect Sir William Chambers, Georgiana Maria Cottin (1794–1859),he hid the portraits of his mistress from his wife and pensioned Emily off with an allowance of £700 p.a.
He died in 1827 and shortly afterwards they were sold as subject paintings.

Northcote painted Miss St Clare no less than seven times, portraying her twice with a falcon. In the earlier canvas she is seated with the bird in profile on her hand, a head and shoulders canvas for which Leicester paid £21.10s in 1801 (see J. Simon, Walpole Society, pp. 73-74, no. 382). The painting has recently been identified in a private collection. The second painting is on a larger canvas and shows the sitter standing on garden steps with the falcon alighting on her hand. This portrait, which appears in the artist's account book in 1803, is the one offered here, although as in Northcote's account book it is described as a full length, it seems the portait was reduced to the present size.
St Clare is shown wearing a white muslin cap, a white dress with a matching cape around her shoulders tied with a blue ribbon around her neck. It rehearses the self-portrait as a falconer Northcote painted of himself in 1823 (Royal Albert Memorial Museum, Exeter).

JAMES NORTHCOTE R.A.(1746-1831) was one of the most prolific portrait painters of the late 18th and early 19th centuries. In 1777, following a period of apprenticeship in the studio of Joshua Reynolds, he journeyed to Paris, Rome and Germany on a prolonged Grand Tour. In Rome he was elected to the Accademia del Forti and, like so many artists before him, took the opportunity to learn from the old masters through sketches and observational studies. On his return to England in 1780, his new found appreciation for the Classical manner increasingly informed his own work.
Northcote had been elected ARA in 1786 and RA in 1787.
His principal talent lay as a portraitist, though forays into the genre of History Painting, notably with 'The Wreck of HMS Centaur' (1784,) helped establish his reputation. Through economic necessity Northcote was compelled to pander to the popular taste for small fancy subjects, 'hack-work' as he called it, illustrating novels from the celebrated authors of the day. An ambitious moral series, entitled Diligence and Dissipation, which was intended to rival Hogarth's Marriage a la Mode (1796) proved a financial failure and Northcote returned to portrait painting in earnest.
Northcote also advised his patron Sir John Fleming Leicester on the formation of his gallery of contemporary British art and painted grandiose scenes from Shakespeare for John Boydell's Shakespeare Gallery.

SIZE:58.5 x 49 inches inc. frame.
LITERATURE: J. Wilson, ' Hoppner's "tamborine girl' identified', Burlington Magazine, CXXX, October 1988, p. 767, no. 5; J. Simon, 'An Account Book of James Northcote', Walpole Society, LVIII, 1995/6, p. 76, no. 406.
PROVENANCE: Private Collection, Killinghall, Yorkshire.

SOLD....Portrait of Dr. William Bell c.1812; Scottish ...

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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.


SOLD...Double portrait of King Charles I and ...

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Oil on canvas in period black and gilt frame.
The sitters are Charles Stuart, (son of James I and Anne of Denmark) and his wife Henrietta Maria, (sister of Louis XIII of France and daughter of Henri IV and Marie de' Medici).

A good 18th-century copy after the famous 17th c. original attributed to the School of Van Dyck in the Pitti Palace, Florence.

(See M. Chiarini & S. Padovani, 'La Galleria Palatina e gli Appartamenti Reali di Palazzo Pitti: Catalogo dei Dipinti', Florence 2003, p. 162, cat. no. 256, reproduced).

SIR ANTHONY VAN DYKE (1599-1641) was the greatest master of the European baroque portrait. Born in Antwerp, he first visited England in 1620. In 1632 he entered the service of King Charles I as Court Painter, and was knighted in 1633.
His clientele was essentially the aristocratic circle of courtiers, many of whom lived in a romantic royalist dream world which collapsed in ruins in the Civil War, soon after Van Dyck's death.
Sir Anthony Van Dyke's influence on the art of the portrait is almost beyond measure.

SIZE: 29.5 x 35.5 inches inc. frame.
PROVENANCE: Italian Private Collection.