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17 August 2017
VIEWING ALL ITEMS


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17thc (1625) Oil Portrait King Henry VII AFTER HOLBEIN THE YOUNGERS Whitehall Palace Tudor Dynasty Mural / Framed 63 x 51 Inches.
MAGNIFICENT IMPORTANT OIL PORTRAIT PAINTING OF KING HENRY VII(7TH)
Estimated Dateline Early 17th Century.
RARE SURVIVING COPY (LATER CUT DOWN) AFTER HANS HOLBEIN THE YOUNGERS WHITEHALL PALACE DYNASTY MURAL OF(1536-37)WITH LATER ADDITION OF CROWN.
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An impressive grand scale oil portrait on canvas of the King standing three-quarter length in a lavish interior and wearing a gold ermine lined cloak and black cap, unusually with a rare painted image of the post medieval crown at his side
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This composition is derived from the 'Dynasty Portrait' in which Henry VIII in 1537 commissioned Hans Holbein the Younger to create a mural of the Tudor dynasty to commemorate his son Edwards birth.
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Henry VIII ‘inherited’ Whitehall Palace after Cardinal Wolsey’s death in 1529. He spent a considerable amount of money on it and it was regarded as the largest 23 acre palace in Europe.
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It was here that Holbein created his largest and most important royal commission, the Whitehall mural executed in 1536, in which Henry was portrayed with his Queen Jane Seymour and his parents, Henry VII and Elizabeth of York. Sadly the palace burned down on 4-5 January 1698 when a laundry maid left washing drying in front of an open fire.
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Luckily, in 1667 the Flemish artist Remigius van Leemput (an assistant of Van Dyck) had produced a small copy of the great wall painting. It measured 88.9 x 98.7cm. This reduced version was created at the command of Leemput’s royal master King Charles II.
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The painting included Latin verses(originally painted on the front of rostrum/but not shown in our version) directing praise at the two male rulers.
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Paintings of the Kings and Queens of England such as this, or 'Long Gallery Sets' as they were known, were very popular in the 16th & 17th century & would be displayed in grand houses and castles.
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ABOUT THE ARTIST
Hans Holbein the Younger (c. 1497-1543) was a German artist and official court painter to King Henry VIII.
born 1497 - died November 29, 1543
Son of Hans Holbein the Elder, Hans Holbein the Younger was arguably one of the greatest portrait artists of his time. Born in Augsburg, Germany,he was taught by his father.
With a letter of introduction from his patron and mentor Erasmus, Holbein traveled to England for the first time in 1526. Holbein went on to paint many in the court of King Henry VIII, including Thomas More, Anne Boleyn, Jane Seymour and Anne of Cleves.
Holbein later contracted what was likely the plague and died in 1547.
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HENRY TUDOR 1457-1509 (Crowned King Henry VII)
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Henry VII was not an obvious candidate for the throne when he seized it by victory over Richard III at the Battle of Bosworth in 1485,after the French readily supplied him with troops and equipment for an invasion
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Henry was born in Wales, his mother was just 13 years old. His father Edmund died before he was born.
His claim to the throne came through Margaret Beaufort,his mother,descended from John of Gaunt.
Henry died in 1509 at Richmond Palace, he is buried at Westminster Abbey and was succeeded by Henry VIII.
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CONDITION
Very good condition for approx 400 + years of age.Signs of a hand woven reline some 200+ yrs ago Craquelure,old repair(dark area) & slight scuffs.
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FRAME
17thc hand made wooden gilt frame,with tulips,fruit flowers, english roses,acorns and ribbons.
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MEASUREMENTS Height 63 Ins Width 51 Ins Inc Frame
CANVAS VISUAL SIZE 56¼ x 44 in. (143 x 112 cm.)
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IMAGE 12 PAINTING OF HOLBEINS MURAL BY LEEMPUT C1667
IMAGE 13 WATERCOLOUR COPY AFTER LEEMPUT
IMAGE 14 ORIGINAL HOLBEIN TUDOR CARTOON DRAWING

ENQUIRIES Tel 07765 856171

Ref: 0529
Price: £65,000
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( RESERVED ) ALFRED POLLENTINE VENICE OIL PAINTING 48 X 68 INS VIEW OF THE GRAND CANAL IN STUNNING DECORATIVE FRAME
PAYMENT BY INSTALMENTS OVER 4 MONTH TERM.
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ALFRED POLLENTINE (1836-1890)
The artist is best known for his beautifully depicted Venetian scenes,Alfred being the best known of a family of artists which included R.J.Pollentine (fl. 1852-62) a painter of landscapes and animals, and W.H.Pollentine (fl. 1847 - 50) who painted coastal and shipping scenes.
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Most renowned for his substantial body of work depicting scenes of Venice, Alfred Pollentine occasionally painted views of familiar English coastal landmarks (Whitby, Scarborough, St. Michaels Mount, Tynemouth etc); and much more rarely, continental ports.
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Obviously interested by the relationship of town and water, Alfred Pollentine's is a fluid smooth style, in which fine use of line is combined with a distinctive and Italianate use of pastel colouring.
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Although he exhibited at the major London galleries during the period 1861 - 1880, showing 2 works at the British Institution and 23 at the Royal Society of British Artists, Pollentine had a robust market for his work and he rarely needed to exhibit during latter part of his long career as an artist.
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This huge example within a stunningly decorative period frame is one of the best works around in todays sought after market for his works,which paintings a fraction of the size still selling for thousands at the best auctions in London.
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This substantial work was obviously for a very wealthy client,who has spared no expense in the shear scale of the commission,being one on its own for size,and making this example a are and collectible painting.
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CONDITION
This fine example has been professionally cleaned throughout and restored visually to near perfect.
The canvas has had a professional re-line to a high standard and is well strengthened as a result of work.
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FRAME
This is one of the most spectacularly decorative swept gilt frames seen for a long while and absolutely makes the painting a million dollars in looks.Very original hand made plaster moulded design with the odd but unnoticeable old repair.
A frame of this huge size and quality could cost as much as £3500-£4000 today fully restored.
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SIGNATURE
The painting has been clearly signed in the lower right botton corner "Pollentine"
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MEASUREMENTS (Including Frame)
Height 48 Inches ( 4ft)
Width 68 Inches ( 5ft/8 Inches)
Depth 6 Inches
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TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM - 10 PM 7 DAYS A WEEK BY APPOINTMENT
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DELIVERY UK MAINLAND & WORLDWIDE / QUOTES ON REQUEST
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PAYMENT BY 4 INSTALMANTS AVAILABLE ON REQUEST
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OUR REF 0615 * A SIGNIFICANT WORK OF ART

RESERVED



Ref: 0615
Price: £22,500
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HUGE 18THC OIL PAINTING BANDITTI BY ROBERT SURTEES SNR MAINSFORTH HALL
INSTALMENT TERMS AVAILABLE UP TO 4 MTHS MAX
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A Fine 18thc Large Scale Oil Painting on canvas depicting a group of bearded Bandits drinking ale and smoking their clay pipes in their encampment in Dalby Forest near Mainsforth Hall,Mainsforth County Durham.
The moonlit evening sky illuminates their faces.
The bandits are depicted with three of their working dogs both resting by their owners sides.
In the forground a muskett can be seen lying on the dusty ground,with a large jug resting on a stone.
One Bandit is seen playing a hand of cards.
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ABOUT MAINSFORTH
MAINSFORTH, a township in Bishop-Middleham parish, Durham, on the river Little Skerne; near the Darlington railway, 7½ miles E of Bishop-Auckland. Acres, 627. Real property, £586. Pop., 58. Houses, 10. Mainsforth Hall belonged to the Huttons; passed to the Surteeses; and is notable for the residence in it of the late Robert Surtees, the county historian and antiquary. Sir Walter Scott often visited it; and he planted an oak tree, which flourishes at the end of the houseterrace.
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HISTORY. (Mainsforth Hall)
Mainsforth is a small village in County Durham, in England. It is situated to the east of Ferryhill, and lies within the ecclesiastical parish of Bishop Middleham The earliest settlement in Mainsforth may have been on Marble (Narble Hill).
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Mainsforth Hall was a significant building in the centre of this small village, until its demolition in the 1960s. The Hall was for many years the dwelling of the Surtees family. The most famous member of the family was Robert Surtees (1779-1834), the great County Durham historian.
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Today the hamlet contains several farms and older cottages and some modern executive style detached dwellings. It retains its character principally because of the many trees in the village and because of the retention of the wall of Mainsforth Hall in the centre of the village.
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Lord Robert Surtees, a descendant of the ancient family of Surtees of Low Dinsdale Manor also acquired the old manor house and estate at Redworth.
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Redworth Hall is a 17th-century country house at Redworth, Heighington, County Durham, England now converted to a hotel. It is a listed building.
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Robert Surtees The Elder carried out substantial rebuilding work in 1744, incorporating some of the 17th fabric. He created an impressive sandstone mansion of two storeys and gabled attics to which further extensions were added in 1820 by his nephew and heir, Robert Smith Surtees who High Sheriff of Durham in 1855.
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Robert Surtees (antiquarian) of Mainforth Hall (now demolished) was a great nephew of the elder Robert.
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The Surtees family lived at Redworth until the death in 1955 of Henry SB Surtees (High Sheriff in 1929).
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FRAME: This very decorative swept frame is craftman made to a high standard and is finished in a rich antique gold leaf with moulded canthas leaf design.
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CONDITION: The canvas has a good secure old relining and one tiny patch,well repaired to rear.
The painted surfaces are stable with only minor craquelure,still retaining the original rich colours.
There are slight signs of some careful minor retouching as expected after 240 yrs.
There are no thinned or faded areas.
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Painted as a moonlit scene in a darkened forest setting, this painting benefits greatly from having a strong picture light above the canvas.
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MEASUREMENTS(Including Frame)
Height: 51 Inches
Width 70 Inches.
Depth 5 Inches
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Last sold at the NEC Birmingham.
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SIGNATURE:(See Last Image 15)Right hand Margin / Mid
Inscribed: Robt.Surtees Pinxt
Mainsforth
1775
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TELEPHONE ENQUIRIES 07765 856171
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HOURS 10AM - 10PM 7 DAYS A WEEK BY APPOINTMENT
DELIVERY UK MAINLAND & WORLDWIDE / QUOTES ON REQUEST
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INSTALMENT TERMS AVAILABLE UP TO 4 MTHS MAX
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OUR REF 0616

Ref: 0616
Price: £22,500
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17THC OIL PORTRAIT PAINTING DAVID 2nd EARL WEMYSS WEARING WEARING SUIT OF ARMOUR & CIRCLE OF ARTIST DAVID SCOUGALL
A fine three quarter late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.
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SITTER
DAVID 2ND EART WEMYSS wears his full suit of gleaming armour almost tailored to his substantial size,a weightly looking gentleman of distinction and aristocratic social standing.
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ABOUT DAVID 2nd EARL WEMYSS
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David Wemyss, 2nd Earl of Wemyss (6 September 1610 – July 1679) was an army officer.
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Only son of John Wemyss, 1st Earl of Wemyss and Jean Gray (d. 1640), daughter of Lord Gray.
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As Lord Elcho, a title he held between 1633 and 1649, he commanded a regiment of Fife infantry in the Scottish army which reached Newcastle upon Tyne in August 1640.
On 1 September 1644, at the head of about 6000 men, he was routed by Montrose at Tippermuir, and in August 1645, as supernumerary commander to Lieutenant-General William Baillie, again suffered defeat by Montrose's forces at Kilsyth.
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He married three times:
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(July 1625) Anna (d. 1649), daughter of Robert Balfour, 2nd Lord Balfour of Burleigh;
(April 1650) Helenor (d. 1652), daughter of John Fleming, 2nd Earl of Wigtown;
(13 January 1653) Margaret (d. 1688), daughter of John Leslie, 6th Earl of Rothes, and widow of Francis Scott, 2nd Earl of Buccleuch; one daughter, Margaret, the only child to outlive her father.
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He died in 1679 at Wemyss Castle in Fife, whose estate he had done much to develop.
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ABOUT THE ARTIST DAVID SCOUGALL
David Scougall (Scottish, active 1661 - 1677)
David Scougall may have studied with John Michael Wright, whose work he certainly copied, but very little is known about this portrait painter aside from the works signed by or attributed to him and a few surviving accounts. His clients included some of the most powerful people in Scotland, for example, Archibald Campbell, Marquis of Argyll, whose daughter Scougal also painted in 1654. His son or nephew, John Scougal, was also a portrait painter and some of his early works may have been confused with those of the older artist.
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CONDITION
Good condition commensurate with age after completion of restoration works.
Signs of an old reline still all good and having had replacement stretchers many years ago.
Painted surfaces are generally fine with just afew areas of overpainting although colours are still vibrant and sharp after good clean and light re-varnish to finish.
All works carried out by experts in their field.
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MEASUREMENTS(Including Frame)
Height 54 Inches
Width 44 Inches
Depth 2.5 Inches
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TELEPHONE ENQUIRIES 07765 856171
HOURS 7 DAYS A WEEK 10AM-10PM BY APPOINTMENT ONLY
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DELIVERY UK MAINLAND £100 & WORLDWIDE £280
QUOTES AVAILABLE ON REQUEST
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OUR REF 0528/A
Ref: 0528/A
Price: £12,950
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17THC OIL PORTRAIT PAINTING MR GIBSON OF DURIE WEARING ARMOUR & ATTRIBUTED TO ARTIST DAVID SCOUGALL
WELCOME TO MANSION HOUSE ANTIQUES & FINE ART
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For Immediate Enquiries Please Telephone

07765 856171 (Anytime) Up To 10pm
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A fine three quarter late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.
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SITTER
Mr.Gibson of Durie looks confidently towards the artist with concentration and pride gesturing with his right arm out stretched with sword seen held in his left hand.
Mr.Gibson wears his full suit of gleaming armour almost tailored to his substantial size,a weightly looking gentleman of distinction and social standing.
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HISTORY OF THE DURIE CLAN OF SCOTLAND
(Please copy & Paste the Link below into Browser)
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http://www.electricscotland.com/history/nation/gibson.htm
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ABOUT THE ARTIST DAVID SCOUGALL
David Scougall (Scottish, active 1661 - 1677)
David Scougall may have studied with John Michael Wright, whose work he certainly copied, but very little is known about this portrait painter aside from the works signed by or attributed to him and a few surviving accounts. His clients included some of the most powerful people in Scotland, for example, Archibald Campbell, Marquis of Argyll, whose daughter Scougal also painted in 1654. His son or nephew, John Scougal, was also a portrait painter and some of his early works may have been confused with those of the older artist.
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CONDITION
Very good condition indeed after completion of full professional restoration to a high standard.
Signs of an old reline still all good and having had replacement stretchers many years ago.
Painted surfaces are all fine and colours are still vibrant and sharp after clean and light re-varnish.
All works carried out by experts in their field.
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MEASUREMENTS(Including Frame)
Height 54 Inches
Width 44 Inches
Depth 2.5 Inches
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INTERNATIONAL CUSTOMERS PLEASE CALL
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(+44) 7765 856171

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PAYMENT OPTIONS

We prefer to Receive Payment By Bank Transfer or By Pay-Pal For Items Under £1000 in Value.

A Deposit of 10% or pre agreed sum will secure goods
for up to 7 days.Instalments can be considered.

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TELEPHONE ENQUIRIES 07765 856171
HOURS 7 DAYS A WEEK 10AM-10PM BY APPOINTMENT ONLY
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DELIVERY UK MAINLAND £100 & WORLDWIDE £280
QUOTES AVAILABLE ON REQUEST
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OUR REF 0527/A.
Ref: 0527/A
Price: £12,950
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17thc Oil Portrait Painting of Richard Graves c1621 ( Aged 49 ) Follower of Gilbert Jackson (1595-1648) Post Elizabethan & Tudor Art
17THC OIL PORTRAIT ON CANVAS OF RICHARD GRAVES DATED C1621 & SET IN THE ORIGINAL FINELY CARVED GILT-WOOD FRAME
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ABOUT SITTER
Richard Graves in depicted in this fine portrait wearing all black garment with elaborate white ruff collar and aged 49 in 1621 (born in 1572) and was married to Francis Gourney, eldest daughter of William Gourney of Moore Hall, Yardley, Hertfordshire.
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He lived in London, where he was a citizen and haberdasher, who owned much property, messuages and taverns, including “The Ship”, "The Dogges Head" and "The Chequers" in the parishes of St. Martin's and St. Bride's.
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He died in April 1626, and was buried in St. Martin's, Ludgate.
His will was proved in 1626.
Arms: Argent, a Cross voyded and engrailed, between 4 mullets or 6 poirells, Gules.
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LABEL VERSO
The portrait bears a paper label verso printed with 'No. 12 Kiftsgate Court, Hall, through Sidney Graves Hamilton' (Kiftsgate Manor was bought by their son Richard Graves) see image 6
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FRAME
The frame is the original 17thc gilt-wood example and is deeply carved with clusters of flowers and acorns.
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ABOUT ARTIST GILBERT JACKSON (c.1595-after 1648)
Gilbert Jackson was an itinerant portrait painter whose origins are unknown; he is documented as painting from about 1620 to about 1650 from recorded commissions and signed and dated paintings.
His art is purely English, and little influenced by the arrival in England of such painters as Paul van Somer, Daniel Mytens or Anthony Van Dyck.
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His work looks back to the flat hieratic style of the late Elizabethan Court, and he devotes infinite care to the rendition of surfaces, colours and textures whilst seeming to be indifferent to the niceties of perspective.
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The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once deeply old-fashioned in the new world of the Baroque, and infinitely charming and unselfconscious.
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LITERATURE
THE GRAVES FAMILY OF YORKSHIRE AND MICKLETON MANOR, GLOUCESTERSHIRE, ENGLAND.
The family of Graves is one of the most ancient in England.
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This family is believed to have used the name De Grava in Bordeaux, Gascony. It went in with the Norman army, and settled in Yorkshire. The name underwent several changes, and its members have been De Grevis, De Greves, Greve, Grave, Greaves, Greeves, and Graves. John de Grevis was in the army of King John. His great grandson was Thomas de les Greves.
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The family lived in early days in that part of England now known as counties Lincoln, Nottingham, Derby and York, occupying the northern part of the three first named and the southern part of York. The first recorded family seat was known as Greves or Greaves, in the parish of Beeley, near Chatsworth, in the northern part of Derbyshire, and a few miles from the southerly boundary of York, where the family resided as early as the reign of Henry III (1216-1272).
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Also, according to John Card Graves, the important families of Greaves, of Mayfield Hall, Co. Stafford, Greaves of Page Hall and Elmsall Lodge, Co. Bucks, and others, trace their descent from the ancient Derbyshire family. Many of the descendants of the different branches of the family went, from time to time, to London and other cities in Great Britain, and to the Colonies, and notably to the American Colonies, in the score of years from 1629 to 1649.
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CONDITION
Good Condition commensurate with age requiring no work.
Frame has the odd minor losses ( bottom centre and top right )
The effected areas will be professionally restored prior to supply.
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INSCRIPTIONS
Dated upper left corner Ano 1621 / Inscribed upper right corner 49 ( Sitters Age )
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PROVENANCE
With Needham's Antiques, Buxton in the 1980s from whom bought by a Wiltshire gentleman.
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MEASUREMENTS (Framed Size)
Height 46.5 Ins x 38.75 Ins (118 x 98.5 cm)
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JUST REDUCED BY -£2500 For Quick Sale
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TELEPHONE 07765 856171
Ref: 0723
Price: £10,000
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17thc Oil Portrait Painting of Frances Graves c1621 (Nee Gourney) Follower of Gilbert Jackson (1595-1648) Post Elizabethan & Tudor Art
17THC OIL PORTRAIT ON CANVAS OF FRANCES GRAVES (Nee Gourney) WIFE OF RICHARD GRAVES DATED C1621 & SET IN THE ORIGINAL FINELY CARVED GILT-WOOD FRAME
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ABOUT SITTER
Frances Gourney was the eldest daughter of William Gourney of Moore Hall in Yardley Hertfordshire.
She is depicted in this fine circa 1621 dated portrait wearing a black capotain hat which was especially associated with Puritan costume in England during the period.
Her costume garment is black with elaborate white ruff collar with long conical perforated lace sleeves.
Frances married to Richard Graves who was an haberdasher and owner of significant properties in London.
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LABEL VERSO
The portrait bears a paper label verso printed with 'No. 13 Kiftsgate Court, Hall, through Sidney Graves Hamilton' (Kiftsgate Manor was bought by their son Richard Graves) see image 9
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FRAME
The frame is the original 17thc gilt-wood example and is deeply carved with clusters of flowers and acorns.
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ABOUT ARTIST GILBERT JACKSON (c.1595-after 1648)
Gilbert Jackson was an itinerant portrait painter whose origins are unknown he is documented as painting from about 1620 to about 1650 from recorded commissions and signed and dated paintings.
His art is purely English, and little influenced by the arrival in England of such painters as Paul van Somer, Daniel Mytens or Anthony Van Dyck.
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His work looks back to the flat hieratic style of the late Elizabethan Court, and he devotes infinite care to the rendition of surfaces, colours and textures whilst seeming to be indifferent to the niceties of perspective.
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The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once deeply old-fashioned in the new world of the Baroque, and infinitely charming and unselfconscious.
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LITERATURE: The Graves family of Yorkshire and Mickleton Manor Gloucestershire England is one of the most ancient in England.
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This family is believed to have used the name De Grava in Bordeaux, Gascony. It went in with the Norman army, and settled in Yorkshire. The name underwent several changes, and its members have been De Grevis, De Greves, Greve, Grave, Greaves, Greeves, and Graves. John de Grevis was in the army of King John. His great grandson was Thomas de les Greves.
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The family lived in early days in that part of England now known as counties Lincoln, Nottingham, Derby and York, occupying the northern part of the three first named and the southern part of York. The first recorded family seat was known as Greves or Greaves, in the parish of Beeley, near Chatsworth, in the northern part of Derbyshire, and a few miles from the southerly boundary of York, where the family resided as early as the reign of Henry III (1216-1272).
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Also, according to John Card Graves, the important families of Greaves, of Mayfield Hall, Co. Stafford, Greaves of Page Hall and Elmsall Lodge, Co. Bucks, and others, trace their descent from the ancient Derbyshire family. Many of the descendants of the different branches of the family went, from time to time, to London and other cities in Great Britain, and to the Colonies, and notably to the American Colonies, in the score of years from 1629 to 1649.
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CONDITION
Good Condition commensurate with age requiring no immediate work.
Frame has minor wear.
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INSCRIPTIONS
Dated upper left corner Ano 1621
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PROVENANCE
With Needham's Antiques, Buxton in the 1980s from whom bought by a Wiltshire gentleman.
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MEASUREMENTS (Framed Size)
Height 46.5 Inches x 38.75 Inches (118 cm x 98.5 cm)
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DELIVERY UK £100 / WORLDWIDE DELIVERY Quotes on Request.
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JUST REDUCED BY -£2500 For Quick Sale
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TELEPHONE ENQUIRIES. 07765 856171
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Quote Our Reference 0724 / BARGAIN

Ref: 0724
Price: £10,000
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18thc Oil Portrait Painting David Garrick & Eva Maria Circle of Sir Joshua Reynolds (1723-1792) Figurative Genre Art The Lovers Conversation Pieces,Gentry Society Aristocrats Fine Art
David Garrick and Eva Maria Garrick (née Veigel), richly dressed, and conversing in wooded landscape. The painting follows the fashionable convention of the conversation piece, a (usually) small-scale portrait showing two or more people, often out of doors,with the smaller versions being about the same size as a half-length portrait but in horizontal or "landscape" format.
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Having had their origins in the 17th century Netherlands, they were also very fashionable in Britain in the 18th century.
They are distinguished by their portrayal of the group apparently engaged in genteel conversation or some activity, very often outdoors.
Typically the group will be members of a family, but friends may be included, and some groups are of friends, members of a society or hunt, or some other grouping.
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Other notable artist working in this genre were Arthur Devis, William Hogarth, Johann Zoffany, and George Stubbs. The original is in the National Gallery London.
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Garrick made his first appearance on the London stage in 1741. His distinguishing characteristic was what Samuel Johnson called his 'universality'. A close friend of Reynolds, he was painted by the artist on several occasions, notably as The Actor torn between Tragedy and Comedy, in 1762. In this portrait by the artist, David and Eva Garrick, the Viennese dancer whom he married in 1749, are depicted in the garden of their country house at Hampton in Middlesex.
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Very finely depicted figures and attire. The facial features of the lady (lips, cheeks, nose) are remarkable. The impasto technique with the thickly applied paint is very effective and very beautiful.
Held in an excellent condition swept frame.
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This exceptionally rare and fine example of one of Reynolds well known works is probably the only other in existence after the original bought by The National Gallery London in 1981.
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We must say that in our opinion our recently acquired version could possibly be another work from Reynolds studio and possibly an earlier forerunner to his larger painting of Garrick.
The portrait we offer is technically not strictly a copy as the artist has painted Garricks Coat with just four upholstered large buttons,whereas the larger version in the National Gallery depicts Garrick with five buttons.
Surely the best copyists would not make such a basic mistake had they been carefully producing an accurate copy.This fact suggests that two versions were produced around the same time 1772 and that the smaller painting we offer for sale may in fact be an earlier sample of the work.
We only suggest this as a sensible analysis but do say our painting is definitely of the correct period around 1772 (late18thc) and that it has been produced by either Reynolds studio under his influence within his Circle or possibly by his studio assistant of many years Giuseppe Marchi.
The larger version once scaled up would infact look visually incorrect to only have four buttons as the spacing of each button would have increased substantially and would continue to do so if enlarged even further.There are unlikely to be any other quality copies available to purchase,making our fine example a unique opportunity to buy a one off reduced version of one of Reynolds best known works
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MEASUREMENTS: Height 83cm, Width 103cm framed (Height 32.5”, Width 40.5” framed)
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CONDITION: Very Good Order Throughout / Relined Canvas and Excellent Swept Frame
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DELIVERY UK & EUROPE Add £80 & WORLDWIDE Add £180 ( Includes Packaging Materials &
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* Interesting Article Link ( Copy & Paste ) About copies achieving record prices at auction.
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http://www.telegraph.co.uk/culture/art/artsales/9251700/Old-Master-copies-are-surprise-winners-at-auction.html
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TELEPHONE ENQUIRIES 07765 856171
(Hours 10am-10pm 7 Days A Week By Appointment Only)
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OUR REF 0709
Ref: 0709
Price: £9,750
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17TH/18TH ANTIQUE OIL PORTRAIT PAINTING OF JUDGE SIR ROBERT DORMER MP & ATTRIBUTED TO THOMAS HILL B.1661 - D1734 ENGLISH SCHOOL 57 X 48 INCHES.
A fine oil on canvas portrait of Sir Robert Dormer MP,born 1650 - died 1726
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Attributed to Thomas Hill 1661 - 1734.
Initialed on the letter on the table T.H.
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HISTORY
Robert Dormer was the second son of John Dormer, Barister of Lee Grange & Purston, Buckingham.
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He was baptised at Quainton near Aylesbury on 30th May 1650.
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He entered Lincoln`s Inn in May 1669, called to the bar in January 1675.
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He later became Chancellor of Durham.
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He entered parliament as a member for Aylesbury in 1698.
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In 1701 & 1705 he was elected as M.P. for the county of Buckinghamshire.
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On 28th November 1702 he became M.P for Northallerton.
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He was raised to the bench of the common pleas on 8th January 1706.
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His seat was at Arle Court near Cheltenham, Gloucestershire.
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He inherited Lee Grange & Purston from his nephew Sir William Dormer 2nd Bt.
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He died on 18th September 1726 & was buried at Quainton.
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In the tower of Quainton Church you will find a fine monument to Sir Robert Dormer & his wife & son.
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DATE
Approximate date is estimated to be between 1695-1710 latest.
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MEASUREMENTS (Inc Frame)
Height 57 Inches
Width 48 Inches
Depth 2.5 Inches
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FRAME
A fine decorative period plaster & gilt example in good condition.
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CONDITION
After careful cleaning and restoration works,
the portrait is now in very good condition for its age,having already been wax re-lined around 20 - 30 years ago.
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TELEPHONE ENQUIRIES 07765 856171
HOURS 10 AM - 10 PM 7 DAYS A WEEK
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DELIVERY UK MAINLAND £180 & WORLDWIDE £280
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OUR REF 0370
Ref: 0370
Price: £8,650
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The Pie Eaters After Bartolome Esteban Murillo (1617-1682) European School Oil Portrait Painting Genre Figurative Art Melon Eaters,Portraits of Children Earing Fruit.Paintings of Dogs
A fine oil painting titled "The Pie Eaters" after the original work of art painted back in the mid 17th century by the renowned and talented Spanish artist Bartolomé Esteban Murillo.
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A well painted correct full scale version from the early 19th century (1800-1820)and finished with the same style of brush stroke and realism seen in the original work,very much like an old master.
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This fine version being painted with warmth and charm achieved in the original,currently in the Alte Pinakothek museum in the Kunstareal in Munich.
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CONDITION
The condition of the canvas is good,having been relined many years ago,and still holding firm.
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The painted surfaces have some signs of being carefully retouched and lighly revarnished although this is difficult to see,as the style and texture of this fine painting has a consistant flow.
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Great warmth and charm is felt when in the presence of this amazing painting,which under subtle lighting has a depth and realism flowing from the charactors,being two young hungry boys eating a pie under the nose of their dog.
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FRAME : An original plaster and gilt swept frame in good solid condition,having just a few old repairs.
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ABOUT THE ARTIST
Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive record of everyday life of his times.
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LIFE: Murillo was born to Gaspar Estaban Murillo and Maria Perez. He may have been born in Seville or in Pilas, a smaller Andalusian town.[1] It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo married Beatriz Cabrera in 1645; their first child, named Maria, was born shortly after their marriage. The mother and daughter became the subjects of two of his paintings: The Virgin of the Rosary[2] & Madonna / Child.
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CAREER: Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano.
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In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences.[2] He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville. He died in Seville in 1682 at the age of 64.
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LEGACY: Murillo had many pupils and followers. The prolific imitation of his paintings ensured his reputation in Spain and fame throughout Europe, and prior to the 19th century his work was more widely known than that of any other Spanish artist.
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MEASUREMENTS ( Including Frame)
Height: 53 Inches / Width: 46 Inches / Depth: 4 Inches
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Interesting Article Link ( Copy & Paste ) About copies of masters selling at high price in auctions.
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http://www.telegraph.co.uk/culture/art/artsales/9251700/Old-Master-copies-are-surprise-winners-at-auction.html
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TELEPHONE ENQUIRIES: 07765 856171
DELIVERY WORLDWIDE / Quotes on Request / Ref 0451
Ref: 0451
Price: £8,500
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18THC OIL PORTRAIT PAINTING BABY WITH CORAL TEETHER C1720
EXCEPTIONAL PORTRAIT OF BABY WITH CORAL TEETHER 18TH CENTURY OIL ON CANVAS
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A rare chance to acquire a beautiful painting of a baby in 18thc dress.
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Portraits of babies from the 17th & 18th centuries are quite rare, and obviously desirable for their charm and appeal.
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This delightful portrait of a round-cheeked, blue-eyed infant is posed using the conventions established for formal European court portraiture, and as found in other early portraits of royal or aristocratic infants.
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The child is depicted full-length, sitting with a highly formalised velvet curtain drape in the background. As with other royal and noble portraits, the baby is shown propped up as if on a chair of state, and seemingly possessing the self-control and formal bearing normally found in portraiture of adults at court.
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The absence of a family armorial, combined with a lack of knowledge as to the portrait’s original provenance, make the identification the child problematic.
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However the scale and richness of composition, with the baby dressed in the finest and most expensive white satin dress trimmed with lace and holding an expensive hand crafted coral teether,suggests that at the very least, this is a child from an wealthy family.
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The prominence of the coral teether in the picture reflects the traditional belief that coral has magical protective properties. It was thought that coral could ward off illnesses and evil spirits. Coral was also hard, cool and clean, making it ideal as a material for the teething infant.
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In fact, the coral’s rich colour was thought to reflect the appearance of physical well-being and if the coral began to change colour it was a harbinger of illness.
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The baby in this portrait is wearing pink ribbons, it is interesting to note that the colours pink and blue were not associated with the gender of children until the 20th century.
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CONDITION
The painting has been re-lined to ensure good condition into the future
Presented in a good 18th century carved wood frame.
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MEASUREMENTS (Including Frame)
Height 37 Inches
Width 32 Inches
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DATELINE
This exceptionally rare example is estimated to be early 18th Century Region of (1720)
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DELIVERY UK MAINLAND ( Includes Packaging ) Add £80
Worldwide Quotes Available on Request.
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PRIVATE DEALER VIEWING BY APPOINTMENT
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TELEPHONE ENQUIRIES: >> 07765 856171 <<
Call Hours 10 am - 10 pm.
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OUR REF 0675






















































Ref: 0675
Price: £6,750
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Reserved 18thc Oil Portrait Mary Queen of Scots After Federico Zuccaro (1540-1609)
Fine Bust Length Oil Portrait of Mary Queen of Scots ( 1542-1587 )
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She wears a richly embroidered dress and Jewelled headdress, and a pearl necklace with crucifix pendant attached.
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Scottish School portrait of good quality and rendered by a competent hand.
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The portrait is painted within a feigned oval and set within a later gilt pierced decorative frame.
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ABOUT
Mary, Queen of Scots (8 December 1542 – 8 February 1587), also known as Mary Stuart[3] or Mary I of Scotland, reigned over Scotland from 14 December 1542 to 24 July 1567.
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Mary, the only surviving legitimate child of James V of Scotland, was six days old when her father died and she acceded to the throne.
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She spent most of her childhood in France while Scotland was ruled by regents, and in 1558, she married the Dauphin of France, Francis.
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He ascended the French throne as King Francis II in 1559, and Mary briefly became queen consort of France, until his death in December 1560.
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Widowed, Mary returned to Scotland, arriving in Leith on 19 August 1561.
Four years later, she married her first cousin, Henry Stuart, Lord Darnley, but their union was unhappy.
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In February 1567, his residence was destroyed by an explosion, and Darnley was found murdered in the garden.
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James Hepburn, 4th Earl of Bothwell, was generally believed to have orchestrated Darnley's death, but he was acquitted of the charge in April 1567, and the following month he married Mary.
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Following an uprising against the couple, Mary was imprisoned in Loch Leven Castle. On 24 July 1567, she was forced to abdicate in favour of James VI, her one-year-old son by Darnley.
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After an unsuccessful attempt to regain the throne, she fled southwards seeking the protection of her first cousin once removed, Queen Elizabeth I of England. Mary had previously claimed Elizabeth's throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in a rebellion known as the Rising of the North.
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Perceiving her as a threat, Elizabeth had her confined in various castles and manor houses in the interior of England.
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After eighteen and a half years in custody, Mary was found guilty of plotting to assassinate Elizabeth in 1586. She was beheaded the following year.
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CONDITION
Good Condition commensurate with age.
Some minor restorations and has in the past been professionally restretchered and relined.
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MEASUREMENTS ( Including Frame )
Height 36 Inches ( 92 cm )
Width 30 Inches ( 76 cm )
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DELIVERY
UK Mainland + £50 (Packaging & Courier.
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WORLDWIDE Supply ( Quotes on Request )
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TELEPHONE ENQUIRIES. 07765 856171
Hours 10am - 10 pm 7 Days A Week
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QUOTE OUR REF 0738
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RESERVED
Ref: 0738
Price: £6,450
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18thc Oil Portrait Painting Nathaniel Hooke ( Jacobite ) Soldier 1664-1738 By Artist Bartholomew Dandridge 45 x 37 Inches
NATHANIEL HOOKE (JACOBITE)1664–1738) 1st Barron Hooke Painted around c1720.
(Other Example National Portrait Gallery London / Image 6)
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(The sitter proudly looks towards the artist with his left eldow resting on two volumes of a French Surgical Book titled Script Chirurgien on the spine) He wears his dark blue coat with gold frogging.
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Hooke was a Franco-Irish Jacobite soldier, diplomatic envoy for the King of France and a Baron in the Peerage of Ireland.
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EARLY LIFE :Born at Corballis in County Meath, he was the third son of John Hooke, of Drogheda and grandson of Alderman Thomas Hooke, of Dublin; his eldest brother was Judge John Hooke (1655–12).Hooke received his education at Kilkenny College.
In 1679 he entered Trinity College, Dublin.After a short period he went to Glasgow University in 1680, before being admitted a sizar at Sidney Sussex College, Cambridge on 6 July 1681.
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MONMOUTHS REBELLION: Hooke left Cambridge University as he had Glasgow, without obtaining a degree. He went abroad to join Archibald, Earl of Argyll's forces in Holland. In 1685 he landed with the Duke of Monmouth at Lyme Regis, acting in the guise of his "personal chaplain". When, at the beginning of July, Monmouth advanced into Somerset, Hooke was sent as a secret envoy to London with Henry Danvers to raise an insurrection in the City.
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JACOBITE SOLDIER: From this point Hooke became a loyal servant of King James II and VII and a Roman Catholic convert. After James's abdication he joined John, Viscount Dundee in Scotland, but in May 1689 was captured at Chester and sent to the Tower of London. He was released on 12 February 1690, went to Ireland, served in the Jacobite Army at the Battle of the Boyne, and then entered French service in the Galmoye Regiment.
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In 1702 Hooke entered into communication with the Duke of Marlborough; the next year he was given a command in the Sparre Regiment, and served in the War of the Spanish Succession with the French Army at Flanders and the Moselle. In August 1705 he led a mission to the Scottish Jacobites, and in 1706 he requested French naturalization, before taking part in the Battle of Ramillies.
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In April 1707 Hooke again went to Scotland, with Lieutenant-Colonel Lord John Murray, to liaise with the Jacobites. The next year he became a Brigadier-General of the French Army (3 March 1708) and was created an Irish Baron before seeing action in Dunkirk expedition & at the Battle of Malplaquet.
The Jacobite rebellion of 1715 did not seriously involve Hooke; he was in touch that year with John, Earl of Stair KT, British Ambassador to Paris, although possibly only to gather info. On 18 March 1718 he became a Marshal of France.
FAMILY
Hooke married, in 1704, Eleanor Susan MacCarthy Reagh (styled Eleanor, The Lady Hooke from 1708), Lady-in-Waiting to Queen Mary, and had by her one son, James Nathaniel Hooke (1705–1744), 2nd and last Baron Hooke.
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ABOUT THE ARTIST : BARTHOLOMEW DANDRIDGE (1691 – c1755) Signature Lower Left Bottom Corner.‘Bartholomew Dandridge studied at Sir Godfrey Kneller's academy of painting and later attended the St Martin's Lane Academy following its foundation in 1720 by John Vanderbank and Louis Cheron.
For more than four decades he ran a successful and fashionable portrait practice in London the highlight of his career was in 1732 when he was commissioned by Lord Barington to paint Frederick, Prince of Wales, on horseback.
In 1731, Dandridge acquired the London studio and house of Sir Godfrey Kneller.
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FRAMED Height 45.5 Inches (116 cm ) X Width 37.5 Inches (95 cm )
CONDITION: Canvas in very good condition.
FRAME :All Original in fairly good order having wear consistent with age.
DELIVERY UK (Inc Packaging & Postage) Add £100
WORLDWIDE Quotes on Request / Provide Country & Area Code
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TELEPHONE : 07765 856171
Ref 0673


Ref: 0673
Price: £5,950
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18THC.GEORGIAN OIL PORTRAIT OF YOUNG GIRL 1760 ENGLISH SCHOOL IN BURR WALNUT EFFECT FRAME 44.5 X 56 INCHES
WELCOME TO MANSION HOUSE ANTIQUES & FINE ART
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For Immediate Enquiries Please Telephone
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07765 856171 (Anytime) Up To 10pm
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..................................................................................................
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A quality large oil on canvas portrait of a beautiful young girl shown in a pale blue satin and lace dress,posing whilst holding a pink rose,wearing a double string necklace of carnelian beads.
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CONDITION
Very Good Condition for age and recently carefully cleaned.
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DATELINE
Early Georgian c1760
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FRAME
A beautiful and wonderfully hand crafted heavy frame,being 4 inches deep,and finished with a hand painted burr walnut immitation finish which looks authentic and makes the piece.
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MEASUREMENTS(Including Frame)
Height 56 Inches
Width 44.5 Inches
Depth 4 Inches
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HOURS 10AM - 10PM 7 DAYS A WEEK
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DELIVERY UK MAINLAND & WORLDWIDE
QUOTES AVAILABLE ON REQUEST
>
TELEPHONE 07765 856171
>
OUR REF 0382 Suberb Hand Crafted Original Frame
Ref: 0382
Price: £5,800
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French Officer Portrait 18thc Order of St.Louis.Military Oil Portraits,Paintings of High Ranking Naval & Army Officers in Uniform
A wonderfully painted and colourful 18thc French school portrait of a gentleman officer of high rank depicted in his formal military attire,with his hands resting confidently on the handle of his sword.
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He wears an officers white long coat with matching lapels, his sleeves decorated with multiple brass buttons and gold braided epaulettes dress his shoulders.Below his chin he wears a gold silk cravat held in situ by two small blue velvet bows tied either side and finished with a silver decorative broach.His shirt is a blue silk under garment of quality.
He confidently wears his black bicorne hat decorated with silver braided cockade and finished with a crimped flower on the side.
He proudly wears with distinction the Military Order of St.Louis which is suspended from a crimson red heart fastened with honour to his chest.
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The officers hands are extremely well defined and his appearance is of nobility, his grey powdered hair held in perfect curls and with a gold ear ring pierced through the lobe of his ear.
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The portrait has been signed with initials S.R below a crown in the top left corner of the canvas.
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MILITARY ORDER OF ST.LOUIS
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The Royal and Military Order of Saint Louis (French: Ordre Royal et Militaire de Saint-Louis) is a dynastic order of chivalry founded 5 April 1693 by King Louis XIV , named after Saint Louis (King Louis IX of France). It was intended as a reward for exceptional officers, notable as the first decoration that could be granted to non-nobles. By the authorities of the French Republic, it is considered a predecessor of the Legion of Honour, with which it shares the red ribbon (though the Legion of Honour is awarded to military personnel and civilians alike).
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Although officially abolished by the government authorities of the July Revolution in 1830 following the French Revolution, its activities carried on as a dynastic order of the formerly sovereign royal family. As such, it is still recognised by the International Commission on Orders of Chivalry
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Measurements ( Including Frame )
Height 43 Inches ( 110cm )
Width 38 Inches ( 97cm )
Depth 2.75 Inches ( 7cm )
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Frame
Very decorative refurbished plaster and wood frame.
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NOTE
The Slip has been coloured Georgian Silver using a gilt wax cream.
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Delivery UK & Europe Add £100
Worldwide Delivery Quotes on Request
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Tel Enquiries 07765 856171
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Hours 10am-10pm 7 Days A Week By Appointment Only
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Ref 0713
Ref: 0713
Price: £5,450
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ROYAL ACADEMY EXHIBITED LANDSCAPE PAINTING BY ARTIST J.KNIGHT DEPICTING A MOORLAND RURAL SCENE WITH DEER EXECUTED IN A PASTEL & GOUACHE MEDIUM CIRCA 1895 MOUNTED INSIDE A LARGE SWEPT GILT FRAME SIZE 62 X 52 INCHES
A quality work of art painted in Pastel & Gouache by sought after Royal Academy acclaimed artist
J.Knight,depicting a moorland landscape scene with deer.
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This fine example is in excellent condition and is protected under the original glass.
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SPECIAL NOTE
This fine painting finished in Pastel & Gouache captures perfectly the steamy mist and dewey dampness of the moors,with the green grassy colours changing intensity in the various applications of sunlight and daylight,a true realistic landscape having depth and realism to stir most imaginations.
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All very well scaled and just like looking through a real framed window bringing the outside inside.
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FRAME:
A beautiful swept original frame made from cast gesso and recently fully re-gilded throughout,and now looking absolutely stunning.
The frame has had some previous old repairs.
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ABOUT THE ARTIST
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Knight was a member of the Manchester Academy of Fine Arts, joining in January 1868. He withdrew in 1879 and was re-elected in 1883. He was also elected a member of the Dudley Gallery, the Royal Institute of Painters in Water Colours, the Royal Etchers, the Royal Cambrian Academy of Art, the Limners Club and Art-Min-Afon, Betws-y-Coed. In 1874 he was a Royal Manchester Institution prize-winner and in 1891 he won a bronze medal at the Paris Exhibition.[3]
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At the Royal Academy his works were frequently hung on the line. His work is in the their permanent collection as well as at the Victoria and Albert Museum, Tate Gallery London, Manchester Art Gallery, Walker Art Gallery and other provincial galleries
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The Manchester School of Painters was formed by a number of disgruntled young vanguard painters in the 1870s. They were deeply influenced by the artist, Joseph Knight who was a successful painter, etcher and photographer. He was the founder member of the Manchester School of Painters. Knight painted how “he” desired and refused to conform to traditional Art School rules and this appealed to his young admirers. Twice weekly they would all meet up at Knight’s studio in York Place behind the Union Chapel in Oxford Road, Manchester to discuss new ways to develop their techniques.
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LABEL VERSO
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ROYAL ACADEMY LABEL
Exhibited in 1896
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PICTURE FRAMERS LABEL
ROSS & PHILLIPS
50/52 Church Street Liverpool & London Chambers
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MEASUREMENTS ( Including Frame)
Height: 52 Inches
Width : 62 Inches
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TELEPHONE ENQUIRIES: 07765 856171
HOURS 10 AM - 10 PM 7 DAYS A WEEK
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DELIVERY UK MAINLAND ONLY ADD + £150
QUOTES AVAILABLE ON REQUEST
>
OUR REF: 0468 * A Good Investment *

Ref: 0468
Price: £5,250
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VENETIAN SCHOOL OIL ON CANVAS AFTER FRANCESCO GUARDI DEPICTING A VIEW ON THE GRAND CANAL WITH GONDOLA 37 X 29 INS
Fine oil on canvas Venetian School very much in the style of Guardi.
Circa 1800-1820 ( unsigned ).
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Francesco Guardi was, after Canaletto, the main painter of views of Venice in the 18th century.
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His early figurative paintings were carried out in association with his brother, Gian Antonio, but in about 1760 Guardi turned to view painting.
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Following Canaletto he recorded both the architecture of the city and the celebrations of its inhabitants in interior and exterior scenes.
These works brought him great success.
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Francesco Guardi was born in Venice, the son of a minor painter, Domenico Guardi. In 1719 his sister married Giovanni Battista Tiepolo, who may have influenced the vivacity and bright colouring of Guardi's figures.
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While Guardi followed Canaletto in producing views or vedute, he soon developed his own style, based on a freer handling of paint.
He took particular pleasure in rendering the vibrant atmosphere of Venetian light and its dazzling effect on water.
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The more 'impressionistic' approach of Guardi also found expression in small-scale imaginary scenes or capricci, of which there are many surviving examples, such as 'An Architectural Caprice'.
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CONDITION:
Excellent throughout,requiring no restoration,and ready to hang on the wall.
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MEASUREMENTS:
Height : 29 Inches (Including Frame)
Width : 37 Inches )Including Frame)
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TELEPHONE ENQUIRIES : 07765 856171
>
HOURS 10 AM -10PM 7 DAYS A WEEK
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DELIVERY UK MAINLAND £80
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PACKAGING & INTERNATIONAL SHIPPING £150
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OUR REF: 0406 * Offered At Trade Price & Genuine Bargain












Ref: 0406
Price: £4,950
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18thc Oil Portrait Painting of Young Girl & Her Pet Dog.Fine Art.Portrait of Girl With Ringlets in hair
We are delighted to offer a wonderfully painted late 18thc oil portrait on canvas of an affulent young lady wearing a crimson red dress woven with lace and ties across her chest.
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She looks confidently towards the artist,her dark blonde hair beautifully made into bunches of ringlets,with her loyal dog shown with paws in hand,asking for love and attention.
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The dog by her side was an 18thc symbol of fidelity,loyalty and trust.
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CONDITION
The painting remains colourful and vibrant and captures the atmosphere of the era with delight and a warmth of charm.There is craquelure evident throughout Commensurate with age and as expected.
The canvas has afew old repair patches which look absolutely fine and are not visable from the front.
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FRAME
Presented in a fine period decorative paster swept gilt frame,making the portrait a stunning looking example to be desired.
The frame has had some old repairs to the top edge and has been well restored and looks very respectable.
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MEASUREMENTS (Including Frame)
Height 41 Inches
Width 36 Inches
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PAYMENT OPTIONS
We prefer to Receive Payment By Bank Transfer or By Pay-Pal For Items Under £1000 in Value.
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A Deposit of 10% or pre agreed sum will secure goods for up to 7 days.
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DELIVERY UK MAINKAND + £80 / WORLDWIDE + £150
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HOURS 10AM-10PM 7 DAYS A WEEK BY APPOINTMENT ONLY.
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TELEPHONE >>> 07765 856171 <<<
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QUOTE OUR REF 0650
Ref: 0650
Price: £4,850
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Oil Portrait of Grande French Lady La Belle Epoque Period in Gallery Frame 40 x 32 Inches
I am delighted to offer for sale this large French oil portrait painting on canvas of a beautiful society lady.
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The portrait depicts an influential and elegantly dressed lady from what the French call the La Belle Epoque period, which is a date between 1890 and 1915
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The lady is very well dressed in the style of the period in a high collared dress with capping over the sleeves and frilled cuffs in eau de nil and pink with darker green accents.
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In this period there was much emphasis on the width of the shoulders - it was the first example of 'power dressing'. High necks were in fashion possibly because of Princess Alexandra.
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Her auburn hair is piled up on top of her head and she is wearing a large ring on her left hand. Her left hand is holding a closed fan. She is seated in a painted arm chair.
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MOIRINAT PARIS
The canvas was purchased by the artist from a French artists' suppliers and gallery called Moirinat, which was situated in the Rue Faubourg St. Honore in Paris and bears their stamp on the reverse.
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The stretcher has a central bar for added stability and to prevent warping.
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BEAUTIFUL ORNATE FRAME
The painting was purchased unframed and has since been expensively framed in a 4 5/8" ornate gilt frame which suits it very well. It will be supplied wired and ready to hang
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WHAT IS LA BELLE EPOQUE
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The Belle Époque or La Belle Époque (French pronunciation: ?[b?lep?k]; French for "Beautiful Era") was a period of Western European history.
It is conventionally dated from the end of the Franco-Prussian War in 1871 to the outbreak of World War I in 1914. Occurring during the era of the French Third Republic (beginning 1870), it was a period characterized by optimism, regional peace, economic prosperity and technological and scientific innovations.
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In the climate of the period, especially in Paris, the arts flourished. Many masterpieces of literature, music, theater, and visual art gained recognition. The Belle Époque was named, in retrospect, when it began to be considered a "golden age" in contrast to the horrors of World War I.
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In the newly-rich United States, emerging from the Panic of 1873, the comparable epoch was dubbed the Gilded Age.[1] In Great Britain, the Belle Époque overlapped with the late Victorian era and the Edwardian era.
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In Germany, the Belle Époque coincided with the reigns of Kaiser Wilhelm I and II, in Russia with the reigns of Alexander III and Nicholas II and in Mexico with the period known as the Porfiriato
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DATELINE: Estimated between 1900-1914
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MEASUREMENTS
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FRAME SIZE
HEIGHT 40 3/8" x WIDTH 32 1/4" -(102.55cm x 81.9cm)
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MEDIUM: Oils on canvas
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CONDITION
Very good condition. The canvas is clean and taut and there is no craquelure, stretcher marks or paint loss. There is one repair to the canvas, as shown. The frame is new.
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TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM-10PM 7 DAYS A WEEK / BY APPOINTMENT ONLY
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DELIVERY UK MAINLAND & WORLDWIDE/QUOTES ON REQUEST
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OUR REF 0639 * A Beautiful Portrait & Quality Study
Ref: 0639
Price: £4,850
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Portrait of a Lady Circle of Kneller English School,Paintings of Aristocratic Ladies,Fine Genre & Figurative Portraits,17th & 18thc Art
A fine oil on canvas portrait of an elegant young lady seen posing informally glancing towards the talented artist, who captures the moment perfectly with a view of her wearing a fashionable blue velvet dress and without her wig and finery.
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The portrait is nicely presented in an oval slip, being detailed with fine chasing and presented in an outer frame having a rope design.
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ARTIST
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This fine example is by a good competent hand and is in the style and circle of works by Sir Godfrey Kneller.
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ABOUT THE ARTIST
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Sir Godfrey Kneller, 1st Baronet (8 August 1646 – 19 October 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George
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Kneller was born Gottfried Kneller in the Free City of Lübeck , the son of Zacharias Kniller. Kneller studied in Leiden, but became a pupil of Ferdinand Bol and Rembrandt in Amsterdam.
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They came to England in 1676,[1] and won the patronage of the Duke of Monmouth. He was introduced to, and painted a portrait of, Charles II. In England, Kneller concentrated almost entirely on portraiture. He founded a studio which churned out portraits on an almost industrial scale, relying on a brief sketch of the face with details added to a formulaic model, aided by the fashion for gentlemen to wear full wigs. His portraits set a pattern that was followed until William Hogarth and Joshua Reynolds.
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Kneller died of fever in 1723 and his remains were interred in the church of St. Mary's (Twickenham)
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DATE:Late 17th -18th Century Circa 1680-1720 approx.
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CONDITION
This painting is in good condition,comensurate with age,having been wax relined in the past,with evidence of replacement stretchers,indicating an expensive and thorough refurbishment in past years
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The portrait is competatively priced to sell and would be a lovely compliment to any period home or as a noticable addition or interior design piece within most modern room settings.
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MEASUREMENTS (Including Frame)
Height : 32 Inches
Width: 28 Inches
Depth 3 Inches
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HOURS 10 AM - 10PM 7 DAYS A WEEK.
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DELIVERY WITHIN UK MAINLAND & WORLDWIDE
QUOTES FOR SHIPPING AVAILABLE ON REQUEST
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TELEPHONE ENQUIRIES: 07765 856171
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OUR REF: 0439


Ref: 0439/A
Price: £4,450
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Mansion House Antiques & Fine Art
East Midlands United Kingdom
Tel: 07765 856 171    Outside UK Tel: 0044 7765 856 171
Email: mansionhouseantiques@googlemail.com    Website: http://www.mansionhouseantiques.co.uk    

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