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20 September 2014
VIEWING ALL ITEMS


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Important 16thc Portrait of Tudor King Henry VII 7th b1457-d1509) CIRCLE OF HOLBEIN (b1497-d1543) Rare Surviving Long Gallery Set Painting Presented In Period Carved Wooden Gilt Frame 63 x 51 Inches
MAGNIFICENT OIL PORTRAIT PAINTING OF KING HENRY VII (7TH) Estimated Dateline 16th Century.
RARE UNATTRIBUTED PREPARATORY WORK OF HANS HOLBEIN THE YOUNGERS WHITEHALL PALACE MURAL (1536-1537)

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,which was later altered & enhanced by his son King Henry 8th with more jewells.

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.

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.

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.

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.

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.

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.

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

Character's backstory: 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, Holbein was taught his skill by his father and gained experience painting altar pieces and carving woodcuts.
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.

HENRY TUDOR 1457-1509 (Crowned King Henry VII)

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

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.

CONDITION
Very good condition for approx.400 years of age.Signs of a hand woven reline some 200+ yrs ago Craquelure, professional old repair(dark area) & slight scuffs.

FRAME
Exceptional early 17thc hand sculptured wooden gilt frame,enhanced with carved tulips,fruit flowers, english roses,acorns an inter-twining ribbon.

MEASUREMENTS
HEIGHT 63 Inches (Inc Frame)
Width 51 Inches (Inc.Frame)
CANVAS VISUAL SIZE 56¼ x 44 in. (143 x 112 cm.)

IMAGE 12 PAINTING OF HOLBEINS MURAL BY LEEMPUT C1667
IMAGE 13 WATERCOLOUR COPY AFTER LEEMPUT
IMAGE 14 ORIGINAL HOLBEIN TUDOR CARTOON DRAWING
IMAGE 15 PROVENANCE 18THC.ITALIAN VILLA NR.MILAN

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OUR REF 0529
Ref: 0529
Price: £100,000
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18TH CENTURY OIL PAINTING BY THOMAS PRITT ENGLISH SCHOOL OF CATTLE WATERING 50 X 61 INS
A Stunning Fine Quality Oil Painting of cattle watering at the rivers edge,with a church steeple seen in the distant background,and a lady walking in the field.

There are also two gentlemen seen fishing from a small boat near the rivers edge,which has been finely painted into the background in minute detail.

Lovely blue skyline and excellent depth in this superb large scale panel.

LABEL VERSO : States Artist Thomas Pritt.

DATE : LATE 18TH CENTURY (1780-1800)

MEASUREMENTS INCLUDING FRAME:
HEIGHT 51 INCHES
WIDTH 61 INCHES.

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SPECIAL NOTE:

This professionally painted landscape is one of the best i have seen for a long time,depicting an extremely effective skyline with sun setting in the distance.
A colourful old master style of work,being truly remarkable.
I am hoping the sale will be quick,with the lucky buyer getting a STUNNING example !!!

OUR REF: 0405 * A BARGAIN PRICE *
Ref: 0405
Price: £15,000
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WILLIAM GREENWOOD & CYCILL CALMADY HIS GRANDAUGHTER BY ARTIST FREDERICK RICHARD SAY.19TH CENTURY OIL PORTRAIT ENGLISH SCHOOL C1833 COMMISSIONED & INSCRIBED VERSO BY HIS DAUGHTER EMILY GREENWOOD CALMADY 41 X 42 INCHES
AN EXCEPTIONAL DISCOVERY OF A VERY IMPORTANT PORTRAIT WITH CLOSE FAMILY TIES AND BY ASSOCIATION TO SIR THOMAS LAWRENCE'S MOST FAMOUS PAINTING OF THE "CALMADY CHILDREN",SO WELL KNOWN & DOCUMENTED IN THE ART WORLD TODAY.

This rare portrait has been discovered recently and has been away in London for the last eight months,undergoing a full and expensive restoration to the highest of standards,to include the original re-leafing in 9crt gold of the very ornate frame,which looks absolutely stunning and in fantastic overall condition.

The portrait depicts one of the five Calmady children,namely Cycill-Christiana Calmady b1823,younger sister to the two elder famous Calmady sisters painted by Sir Thomas Lawrence.as seen in our attached final image number 5.

The well known and famous portrait by Sir Thomas Lawrence is currently owned and on display in the Metropolitan Museum of Fine Art in New York and is a priceless exhibit,BELIEVED TO HAVE COST THEM £1 MILLION TO BUY,and which was recorded as sold back in 1886 by Christies for the huge sum of £1869.

This fine example we have offered for sale is painted by the portraiture artist Frederick Richard Say,and was commissioned by Emily nee-Greenwood Calmady,the childrens mother,who has hand written the following note /info on the verso:

INSCRIBED VERSO:

" William Greenwood Esquire - born March 1764
Died April 1844 -Painted by F.R.Say 1833 with his
Grandaughter Cycill C.Calmady,in her 10th year "

( "This Copy made 1850 by his daughter Emily Calmady ")
* The latter note is actually intended to convey the identity of the person making the inscription.

ABOUT THE ARTIST:

FREDERICK RICHARD SAY 1804 - 1868)
Was a notable society portrait painter in London between about 1830 and 1860, undertaking commissions for portraits of many famous and important figures such as Earl Grey, Sir Robert Peel, the Duke of Wellington and the Royal family.

Emily Calmady was marriied in 1816 to a gentleman named Charles-Biggs Calmady ( b.1791 ) of Langdon Hall County of Devon.

Emily nee-Greenwood Calmady's father,was William Greenwood Esq,a builder from Brookwood Hampshire,who is shown depicted with his grandaughter,when she was aged just 10 years old.

ABOUT GRANDAUGHTER CYCILL-CHRISTIANA:

In 1854 Cycill Christiana married William Frederick Collier.The Collier family in the early 19th century resided in Plymouth,but by the end of the century had acquired Woodtown in the parish of Sampford Spinney.
The Collier family are presently the most direct decendants of the Calmady line.

CONDITION:

The portrait has been wax re-lined and professionally cleaned and lightly revarnished,but retaining all the original painted surfaces.

Due to age there are signs of crackleture in the fleshy areas of the arms and faces,consistant with age and normally seen with most paintings to some degree on closer inspection,but much less obvious from a reasonable distance,especially when the portrait is seen in normal light.

DATE PAINTED: Circa 1833

MEASUREMENTS:
HEIGHT 42 Inches Inc.Frame
WIDTH: 41 Inches Inc.Frame

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AFTER FURTHER RESEARCH & ASSESSMENT THIS FINE POTRAIT WOULD BE A VALUABLE ACQUISITION ESPECIALLY TO THE
METROPOLITAN MUSEUM OF ART IN NEW YORK.

OUR REF: 0395 * A GOOD INVESTMENT *




Ref: 0395
Price: £12,950
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FINE LATE 17TH CENTURY OIL PORTRAIT PAINTING OF DAVID 2nd EARL WEMYSS WEARING HIS FULL SUIT OF ARMOUR & CIRCLE OF ARTIST DAVID SCOUGALL IN PERIOD CARVED WOODEN GILT FRAME H54 X W44 INCHES
A fine three quarter late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.

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.

ABOUT DAVID 2nd EARL WEMYSS

David Wemyss, 2nd Earl of Wemyss (6 September 1610 – July 1679) was an army officer.

Only son of John Wemyss, 1st Earl of Wemyss and Jean Gray (d. 1640), daughter of Lord Gray.

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.

He married three times:

(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.

He died in 1679 at Wemyss Castle in Fife, whose estate he had done much to develop.



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.

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.

MEASUREMENTS(Including Frame)
Height 54 Inches
Width 44 Inches

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OUR REF 0528 * A MAGNIFICENT EXAMPLE OF PORTRAITURE
Ref: 0528
Price: £12,750
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FINE LATE 17TH CENTURY OIL PORTRAIT PAINTING OF MR. GIBSON OF DURIE WEARING HIS FULL SUIT OF ARMOUR & ATTRIBUTED TO ARTIST DAVID SCOUGALL IN PERIOD CARVED WOODEN GILT FRAME H54 X W44 INCHES
A fine three quarter late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.

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.

HISTORY OF THE DURIE CLAN OF SCOTLAND
(Please copy & Paste the Link below into Browser)

LINK:

http://www.electricscotland.com/history/nation/gibson.htm

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.

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.

MEASUREMENTS(Including Frame)
Height 54 Inches
Width 44 Inches

TELEPHONE ENQUIRIES 07765 856171
HOURS 7 DAYS A WEEK 10AM-10PM BY APPOINTMENT ONLY

DELIVERY UK MAINLAND & WORLDWIDE
QUOTES AVAILABLE ON REQUEST

OUR REF 0527 * A MAGNIFICENT EXAMPLE OF PORTRAITURE
Ref: 0527
Price: £10,750
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17TH OIL PORTRAIT 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

Attributed to Thomas Hill 1661 - 1734.
Initialed on the letter on the table T.H.

DATE:
Approximate date is estimated to be between 1695-1710 latest.

MEASUREMENTS (Inc Frame)
Height: 57 Inches
Width: 48 Inches

FRAME:
A fine decorative period plaster & gilt example in good condition.

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.

HISTORY:
Robert Dormer was the second son of John Dormer, Barister of Lee Grange & Purston, Buckingham.

He was baptised at Quainton near Aylesbury on 30th May 1650.

He entered Lincoln`s Inn in May 1669, called to the bar in January 1675.

He later became Chancellor of Durham.

He entered parliament as a member for Aylesbury in 1698.

In 1701 & 1705 he was elected as M.P. for the county of Buckinghamshire.

On 28th November 1702 he became M.P for Northallerton.

He was raised to the bench of the common pleas on 8th January 1706.

His seat was at Arle Court near Cheltenham, Gloucestershire.

He inherited Lee Grange & Purston from his nephew Sir William Dormer 2nd Bt.

He died on 18th September 1726 & was buried at Quainton.

In the tower of Quainton Church you will find a fine monument to Sir Robert Dormer & his wife & son.

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OUR REF: 0370
Ref: 0370
Price: £9,500
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THE PIE EATERS AFTER BARTOLOME ESTEBAN MURILLO 1617-D1682 OIL ON CANVAS EARLY 19TH CENTURY CIRCA 1800-1820 EUROPEAN SCHOOL IN ORIGINAL SWEPT GILT FRAME SIZE 53 X 46 INCHES
A fine oil painting titled "The Pie Eaters" after the original work of art painted back in the mid 17th century by the reknown and talented Spanish artist Bartolomé Esteban Murillo.

A well painted correct full scale version from the early 19th century (1800-1810)and finished with the same style of brush stroke and realism seen in the original work,very much like an old master.

This fine version being painted with warmth and charm achieved in the original,currently in the Alte Pinakothek museum in the Kunstareal in Munich.

CONDITION
The condition of the canvas is good,having been relined many years ago,and still holding firm,with no further attention being required.

The painted surfaces have some signs of being carefully retouched and lighly revarnished as part of a recent full professional restoration program, although this is difficult to see,as the style and texture of this fine painting has a consistant flow.

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.

FRAME
An original plaster and gilt swept frame in good solid condition,having just a few old repairs and still
looking great and vibrant with fine detail.

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 and appealing record of the everyday life of his times.

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] and Madonna and Child.

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, and he shared their strongly realist approach.

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 which improved his reputation.
Again back in Sevill,he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect Francisco Herrera the Younger. He died in Seville in 1682 at the age of 64.

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.

MEASUREMENTS ( Including Frame)
Height: 53 Inches
Width: 46 Inches
Depth: 4 Inches

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QUOTES ON REQUEST / OUR REF 0451







Ref: 0451
Price: £9,500
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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 HUGH 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.

This fine example is in excellent condition and is protected under the original glass.

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.

All very well scaled and just like looking through a real framed window bringing the outside inside.

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.

ABOUT THE ARTIST

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]

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

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.

LABEL VERSO

ROYAL ACADEMY LABEL
Exhibited in 1896

PICTURE FRAMERS LABEL
ROSS & PHILLIPS
50/52 Church Street Liverpool & London Chambers

MEASUREMENTS ( Including Frame)
Height: 52 Inches
Width : 62 Inches

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OUR REF: 0468 * A Good Investment *

Ref: 0468
Price: £8,000
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OLD MASTER OIL PORTRAIT PAINTING OF THE MADONNA DELLA SEGGIOLA ATTRIBUTED TO LUIGI BARDI AFTER RAPHAEL & ITALIAN SCHOOL 19TH CENTURY PRESENTED IN A PAINTED CIRCULAR TONDO & FRAMED SIZE 38.5 X 38.5 INCHES
The Madonna della seggiola or Madonna della sedia, also known as the “Madonna Of The Chair,” is a version where Madonna is looking out at the artist instead of towards the child in arms.
This quality example is an excellent work of high Renaissance artistry.

The original masterpiece was painted in Rome, by 31 year old Italian painter Raphael Santi.
Today the painting is displayed in the Palazzo Pitti, in Florence, Italy

It depicts Mary embracing the child Christ, while the young John the Baptist devoutly watches.

Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. Instead, the warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Maria Montessori, Italian doctor and pioneer in pedagogy, wrote that it was her wish that the Madonna della seggiola hang in each Children's House (Montessori school) as a symbol of "humanity [St. John] rendering homage to maternity [Madonna]".

ABOUT THE ARTIST RAPHAELLO SANZIO (B1483-D1520)

For centuries Raphael has been recognised as the supreme High Renaissance painter, more versatile than Michelangelo and more prolific than their older contemporary Leonardo. Though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century.

Raphael (Raffaello Santi) was born in Urbino where his father, Giovanni Santi, was court painter. He almost certainly began his training there and must have known works by Mantegna, Uccello, and Piero della Francesca from an early age. His earliest paintings were also greatly influenced by Perugino. From 1500 - when he became an independent master - to 1508 he worked throughout central Italy, particularly Florence, where he became a noted portraitist and painter of Madonnas.

He remained in Rome for the rest of his life and in 1514, on the death of Bramante, he was appointed architect in charge of St Peter's.

CONDITION
Excellent condition throughout still retaining the bright vivid colours and sharpness.

VALUATIONS:
Values of similar size works vary greatly as there are lots of poor quality copies in circulation.
We have visually found an example which is of comparable quality which has been painted on panel and looks possibly as if executed by the same studio.
Please copy pasted LINK below into your browser,
as this one achieved 20.000 Euro or £16,800 in 2012.

http://www.christies.com/lotfinder/paintings/after-raffaello-sanzio-called-raphael-the-madonna-5577894-details.aspx

MEASUREMENTS (Including Frame)
Height 38.5 Inches (98cm)
Width 38.5 Inches (98cm)
Depth 3.25 Inchesa(7.5cm)

APERTURE SIZE 28 X 28 Inches (71cm)

ARTIST
Attributed to artist LUIGI BARDI,this fine example is up there with some of the best works in major museum collections and is clearly executed by a very competant hand indeed almost indistinguishable from originas by the master Raphael.

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OUT REF 0519 A STUNNING WORK ON ART


Ref: 0519
Price: £7,500
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LATE 18TH CENTURY OIL PORTRAIT OF MAJOR SIR CHARLES SHIPLEY (1755-1815) GOVENOR OF GRENADA & AFTER STUDIO OF JOHN ECKSTEIN 59 X 46 INS IN ORIGINAL GILT GESSO FRAME
SHIPLEY, Sir CHARLES (1755–1815), general, and governor of Grenada, West Indies, was the son of Richard Shipley of Stamford, Lincolnshire, and of Copt Hall, Luton, Bedfordshire, a captain of cavalry, by his wife Jane, daughter of Robert Rudyerd, of Wormley, Hertfordshire. The latter was great-grandson and representative of Sir Benjamin Rudyerd [q. v.] of West Woodhay, Berkshire. Charles Shipley was born at Copt Hall on 18 Feb. 1755. On the death of his mother's only brother, Captain Benjamin Rudyerd of the Coldstream guards,his mother became sole heiress of the families of Maddox and Rudyerd.

On 1 April 1771, after passing through the Royal Military Academy at Woolwich, Shipley received a commission as ensign and practitioner engineer. In the following year he went to Minorca. On 4 March 1776 he was promoted to be lieutenant and sub-engineer. He returned to England in 1778, and was stationed at Gravesend as engineer on the staff under Colonel Debbieg.

From 1780 to 1783 he served in the Leeward Islands, and in 1788 he again went to the West Indies and was stationed at Antigua. Early in 1792 he returned to England to be tried by court-martial for disobedience to regulations in that he employed his own negroes in Antigua on government fortification work. The court sat at the Horse Guards from 23 Feb. to 1 March, found Shipley guilty, and sentenced him to be suspended from rank and pay for 12 months.

On 15 Aug. 1793 Shipley was promoted to be captain.At the solicitation of Sir John Vaughan, commander-in-chief in the West Indies, he again applied to be sent thither, and embarked in November with his family in the government storeship Woodley. After leaving Plymouth severe storms compelled them to put into Gibraltar and Cadiz,and when at length they arrived within a few miles of Barbados, they were captured by the French corvette Perdrix. The prisoners were confined in hulks at Guadeloupe,but Shipley's wife was set free, and eventually managed to extort the liberation of her husband from the French republican general, Victor Hugues.On 6 May 1795 Shipley was promoted to be major in the army.

In July 1815 Shipley declined promotion out of the corps of royal engineers.Ever careless of personal exposure, excessive fatigue at the attack on Guadeloupe brought on an illness which ended in his death at his seat of government at Grenada on 30 Nov. 1815. He was buried in the church of St. George's, Grenada, amid the regret of all classes.

Shipley married at Gravesend, in May 1780, Mary, daughter of James Teale, by his wife Mary, daughter of Dr. Ralph Blomer, prebendary of Canterbury. Lady Shipley died at Boulogne (where she was assigned a residence by Louis XVIII in consideration of her husband's services in the French West Indies) on 6 Aug. 1820, and was buried in the English burial-ground there; her remains were removed and reinterred in the cloisters of Canterbury Cathedral. Their youngest daughter, Elizabeth Cole (d. 1828), married in 1809 Henry David Erskine, twelfth earl of Buchan.

ABOUT THE ARTIST(Studio of)
Johann or John Eckstein (1736- 27 June 1817), a German modeller and painter, lived in the 18th century, and studied at the Royal Academy in London, where he spent the greater part of his life. He stayed some time at Potsdam, and was practising in Birmingham in 1792. In 1796 he painted The Soldier's Return, and a Family Gathering. The Berlin Museum has two beautiful reliefs, signed J. E., which are said to be by this artist. He left London for the United States, and died in Havana in 1817.

CONDITION:
Evidence of an old relining with repair using a substantial heavy canvas material and signs of ample recleaning with thinned areas of surface paint,plus small signs of surface degredation of the old varnish.
Still in very respectable order for the age and best left as is,ready to hang on wall.

TELEPHONE ENQUIRIES: 07765 856171 ( OUR REF 0398 )
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Ref: 0398
Price: £6,500
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GEORGIAN OIL PORTRAIT OF YOUNG GIRL IN BLUE DRESS & PRESENTED IN HAND CRAFTED BURR WALNUT EFFECT 4" DEEP FRAME 18TH CENTURY ENGLISH SCHOOL & 44.5 X 56 INCHES
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.

CONDITION:
Very Good Condition for age and recently carefully cleaned.

DATELINE
Early Georgian c1760-90

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.

Measurements:
Height: 56 Inches
Width: 44.5 Inches
Depth: 4 Inches

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OUR REF: 0382



Ref: 0382
Price: £6,500
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A PAIR OF PAINTED WOODEN VENETAIN BLACKAMOOR CANDLEARBRA TORCHERES
A fine pair of softwood painted Venetain Blackamoor Torcheres , beautifully carved and decorated in black and gold paint,with an upper candlearbra conversion,with hand crafted metal gilt leaves attached,having been cut out and made from thin steel sheet.

They have been rewired in the recent past and have been fitted with modern flame effect bulbs.

The tops of the torcheres have been fitted with a modern looking collar to secure the metal candlearbra attachment and arms above.

The condition is fair for the age and there are signs of careful restoration and some retouching.
Further tidying would be fairly easy and would benefit them further.

They are great antique examples,with similar modern copies seen regularly,still achieving high prices.

MEASUREMENTS
HEIGHT: 7 FT
WIDTH: 13 INCHES
DEPTH: 10 INCHES

These candlearbra torcheres are a fantastic interior design antique which will appreciate in time.

TELEPHONE 07765 856171 TO RESERVE.
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FREE DELIVERY UK MAINLAND ONLY.

OUR REF 0107 * PRICED TO SELL *


Ref: 0107
Price: £5,850
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OIL PORTRAIT PAINTING 20th CENTURY COPY OF YOUNG QUEEN ELIZABETH 1st.TUDOR AND SIR FRANCIS WALSINGHAM IN THE OLD MASTER STYLE AFTER ARTIST JOHN DE CRITZ AND PRESENTED IN 19TH CENTURY FRAME 49 x 58 INCHES
An interesting late 20th century copy of an old master painting,presented in a period decorative re-gilded frame,much in the style of artist John de Critz,depicting Princess Elizabeth 1st 1582-1662 (later to become the Queen of Bohemia)seen sat besides her loyal protector Sir Francis Walsingham (later to become Ambassador to France).
The portrait has been re-laid onto an old early heavy canvas liner to strengthen and to appear 17thc period.

ABOUT THE ARTIST
John de Critz or John Decritz (1551/2 – 14 March 1642 (buried)) was one of a number of painters of Flemish and Dutch origin active at the English royal court during the reigns of James I of England and Charles I of England. He held the post of Serjeant Painter to the king from 1603.
De Critz was born in Antwerp. His Flemish parents brought him as a boy to England from Antwerp, during the Habsburg persecution of Dutch Protestants, and apprenticed him to the artist and poet Lucas de Heere, also from Antwerp, who may have taught members of the Gheeraerts family and Robert Peake as well.[1] De Critz established himself as an independent artist by the late 1590s, [2] and in 1603 he was appointed serjeant-painter to the king.

SITTERS
FRANCIS WALSINGHAM
Sir Francis Walsingham was principal secretary to Queen Elizabeth I of England from 20 December 1573 until his death, and is popularly remembered as her "spymaster".

Born: 1532, Chislehurst
Died: April 6, 1590, Barn Elms
Education: King's College,University of Cambridge.
Spouse: Ursula St. Barbe (m. 1566–1590),
Anne Barne(m. 1562–1564)Children: Frances Walsingham

Born to a well-connected family of gentry, Walsingham travelled in continental Europe after leaving university before embarking at the age of twenty on a career in the law. A committed Protestant, during the reign of the Catholic Queen Mary I of England he joined other expatriates in exile in Switzerland and northern Italy until Mary's death and the accession of her Protestant half-sister, Elizabeth.

Walsingham rose from relative obscurity to become one of the small coterie who directed the Elizabethan state, overseeing foreign, domestic and religious policy. He served as English ambassador to France in the early 1570s and witnessed the St. Bartholomew's Day massacre. As principal secretary, he was a supporter of exploration, colonization, the use of England's maritime power, and the plantation of Ireland. He worked to bring Scotland and England together.

ELIZABETH I (TUDOR)
Elizabeth I (7 September 1533 – 24 March 1603) was queen regnant of England and Ireland from 17 November 1558 until her death. Sometimes called "The Virgin Queen", "Gloriana" or "Good Queen Bess", Elizabeth was the fifth and last monarch of the Tudor dynasty. The daughter of Henry VIII, she was born a princess, but her mother, Anne Boleyn, was executed two and a half years after her birth, and Elizabeth was declared illegitimate. Her half-brother, Edward VI, bequeathed the crown to Lady Jane Grey, cutting his two half-sisters, Elizabeth and the Catholic Mary, out of the succession in spite of statute law to the contrary. His will was set aside, Mary became queen, and Lady Jane Grey was executed. In 1558, Elizabeth succeeded her half-sister, during whose reign she had been imprisoned for nearly a year on suspicion of supporting Protestant rebels.

LINK To Full Details:
http://en.wikipedia.org/wiki/Elizabeth_I_of_England

Reign 17 November 1558 – 24 March 1603
Coronation 15 January 1559 & Religion Anglican .

MEASUREMENTS Including Frame
HEIGHT 58 INCHES
WIDTH 49 INCHES
DEPTH 6 INCHES

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Ref: 0484
Price: £5,500
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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 ).

Francesco Guardi was, after Canaletto, the main painter of views of Venice in the 18th century.

His early figurative paintings were carried out in association with his brother, Gian Antonio, but in about 1760 Guardi turned to view painting.

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.

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.

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.

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'.

CONDITION:
Excellent throughout,requiring no restoration,and ready to hang on the wall.

MEASUREMENTS:
Height : 29 Inches (Including Frame)
Width : 37 Inches )Including Frame)

TELEPHONE ENQUIRIES : 07765 856171
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OUR REF: 0406 * BARGAIN PRICE *












Ref: 0406
Price: £4,950
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OIL PORTRAIT PAINTING OF A LADY CIRCLE OF GODFREY KNELLER LATE 17TH CENTURY ENGLISH SCHOOL C1690-1720
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.

The portrait is nicely presented in an oval slip,being detailed with fine chasing and presented in an outer frame having a rope design.

ARTIST

This fine example is by a good competent hand and is in the style and circle of works by Sir Godfrey Kneller.

ABOUT THE ARTIST

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

Kneller was born Gottfried Kniller 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.

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.

Kneller died of fever in 1723 and his remains were interred in the church of St. Mary's (Twickenham)

DATE:Late 17th Century Circa 1690-1720 approx.

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

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.

MEASUREMENTS
Height : 32 Inches (Including Frame)
Width: 28 Inches (Including Frame)

TELEPHONE ENQUIRIES: 07765 856171
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DELIVERY WITHIN UK MAINLAND & WORLDWIDE
QUOTES FOR SHIPPING AVAILABLE ON REQUEST

VERY REASONABLY PRICED ITEM

OUR REF: 0439

Ref: 0439
Price: £4,950
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18TH CENTURY MONA LISA OLD MASTER PORTRAIT PAINTING OIL ON CANVAS EUROPEAN SCHOOL IN DECORATIVE GILT REPLACEMENT FRAME OVERALL SIZE 24 X 27.75 INCHES
ABOUT THE ORIGINAL MONA LISA
The Mona Lisa (La Gioconda or La Joconde) is a half-length portrait of a woman by the Italian artist Leonardo da Vinci, which has been acclaimed as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world."[1]

The painting, thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, is in oil on a poplar panel, and is believed to have been painted between 1503 and 1506.[2] It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Musée du Louvre in Paris since 1797

The title of the painting that is known in English as Mona Lisa stems from a description by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."[4][5] Mona in Italian is a polite form of address originating as ma donna —similar to Ma’am, Madam, or my lady in English. This became madonna, and its contraction mona.

Leonardo da Vinci began painting the Mona Lisa in 1503 or 1504 in Florence, Italy.[19] According to Leonardo's contemporary, Giorgio Vasari, "after he had lingered over it four years, left it unfinished".[5] Leonardo, later in his life, is said to have regretted "never having completed a single work".[20]

In 1516 Leonardo was invited by King François I to work at the Clos Lucé near the king's castle in Amboise. It is believed that he took the Mona Lisa with him and continued to work after he moved to France.[17] On his death the painting was inherited, by his pupil and assistant Salaì.[9] The king bought the painting for 4,000 écus and kept it at Palace of Fontainebleau, where it remained until given to Louis XIV. Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre, but spent a brief period in the bedroom of Napoleon in the Tuileries Palace and then finally to the Ingres Museum in Montauban.

AESTHETICS
Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widespread at the time. The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication.

LEONARDO DA VINCI
Leonardo di ser Piero da Vinci (B.April 15 1452 – D.May 2 1519,was an Italian Renaissance polymath: painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer.

Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, at Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded him by Francis I.

ABOUT OUR PORTRAIT.
FRAME:
Presented in a beautifull decorative plaster & gilt later replacement frame,which greatly enhances the appearance and is in keeping with the period look.

DATE: Estimated to be late 18th Century European.

MEASUREMENTS
HEIGHT 27.75 INCHES (Including Frame)
WIDTH 24 INCHES (Including Frame)

CONDITION:Original canvas with two small well restored patch repairs verso,with some re-touching to painted surfaces,but being clean and with a little craquelature,but fine and stable,ready to hang as seen

TELEPHONE ENQUIRIES 07765 856171
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D
Ref: 0492
Price: £4,450
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LARGE ORIENTAL VASES JAPANESE ENAMELLED PAIR WITH FLUTED NECKS STANDING 5FT.3 INCHES HIGH
A STUNNING PAIR OF ORIENTAL ENAMELLED JAPANESE VASES IN HARD BONE CHINA.

These vases were originally bought over 30 years ago for decorative purposes,to stand in my conservatory and are probably copies of earlier examples.

They are in excellent condition with no damage.

The scenes depicted are cleverly hand enamelled with great detail and overpainting using gold.

They have fluted tops with a pair of gold covered handles to give them a balanced look.

A fine pair which would be hard to replace for the price being asked.

MEASUREMENTS:

HEIGHT 5 FT 3 Inches WIDTH 19 Inches CIRCUMFERANCE 63 Inches

TELEPHONE ENQUIRIES 07765 856171
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DELIVERY: COLLECTION IN PERSON ONLY

OUR REF 0129 * A BARGAIN PRICE & VALUE *

Ref: 0129
Price: £3,950
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OIL PORTRAIT PAINTING ATTRIBUTED TO SIR THOMAS LAWRENCE OF A BRITISH ARMY OFFICER IN HIS RED COAT TUNIC UNIFORM DATING (1795-1802) LATE 18TH-EARLY 19TH CENTURY ENGLISH SCHOOL IN A MAGNIFICENT DECORATIVE GILT-WOOD FRAME 35 X 40 INCHES
A fine oil portrait of a military British officer,attributed to artist Sir Thomas Lawrence (b1769-d1830),shown wearing his British Army bright red coat jacket,having a buff coloured lining with gold threaded epaulettes on his shoulders,depicted gazing confidently into the artists eyes,with a faint smokey mist seen in the background.

Epaulettes were worn on the shoulders up until 1802,after which chevrons were worn as replacements,this fact helping to provide an approximate latest possible date for the painting to have been executed.

The officers face is well painted and clearly shows afew days of facial hair stubble growth.with a mole on his right cheek.

The portrait has been extremely well painted and has captured the true atmosphere of a soldier who is proud and well groomed.

We consider the portrait to be of a Lieutenant or a Lieutenant
Colonel in rank based on the gold braided shoulder epaulettes.

UNIFORMS RANKS & REGIMENTS

Prior to 1707 colonels of regiments made their own arrangements for the manufacture of uniforms under their command. This ended when a royal warrant of 16 January 1707 established a Board of General Officers to regulate the clothing of the army. Uniforms supplied were to conform to the "sealed pattern" agreed by the board.

From an early stage red coats were lined with contrasting colours and turned out to provide distinctive regimental facings (lapels, cuffs and collars). Examples were blue for the 8th Regiment of Foot, green for the 5th Regiment of Foot, yellow for the 44th Regiment of Foot and buff for the 3rd Regiment of Foot. 1747 saw the first of a series of clothing regulations and royal warrants that set out the various facing colours and distinctions to be borne by each regiment.[10] An attempt at standardisation was made following the Childers Reforms of 1881,

ABOUT THE ARTIST (Sir Thomas Lawrence)

Born 13 April 1769
Bristol
Died 7 January 1830 (aged 60) London
Nationality English
Field Painting
Movement Romanticism

Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) was a leading English portrait painter and president of the Royal Academy.

Lawrence was a child prodigy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper.
At the age of ten, having moved to Bath, he was supporting his family with his pastel portraits.

At eighteen he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1790.

He stayed at the top of his profession until his death, aged 60, in 1830.
Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint.
He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820.
In 1810 he acquired the generous patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency.

Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons became the subject of several books) and, in spite of his success, he spent most of life deep in debt.

He never married. At his death, Lawrence was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has been partially restored in more recent ones.

FRAME:
The frame is an original carved giltwood example,
still retaining the gold leafed finish,with some older minor slight losses over painted,but still looking respectable

MEASUREMENTS:
HEIGHT : 40 Inches Inc Frame
WIDTH : 35 Inches Inc Frame

CONDITION:
The portrait is in very good condition and has in past years been carefully cleaned,and still retains the original painted

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Ref: 0394
Price: £3,850
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OIL PORTRAIT PAINTING OF A DANISH NOBLEMAN BY ARTIST JOHAN HORNER (1711-1763) MID 18TH CENTURY EUROPEAN SCHOOL C1740 APPROX & FRAMED SIZE 56.5 X 41.5 INCHES
Early oil on canvas portrait depicting a wealthy nobleman,seen wearing his mess red velvet jacket.

The nobleman rests his right hand on a terrestrial globe whilst the other points to a map.

CONDITION
Old restoration having had the canvas carefully mounted and laid to board to preserve.
Cleaned in the past but would benefit from further work around the facial area, but not essential.
Slight faint stretcher line across middle of the portrait but not too noticable and in good order.

FRAME
Presently mounted inside a later wooden gilt plain frame.

DATE
Mid 18th Century Approx.Circa 1740

MEASUREMENTS (Including Frame)
Height 56.5 Inches
Width 41.5 Inches

PROVENANCE
Collection of a Fellow of a Cambridge College.

TELEPHONE ENQUIRIES 07765 856171
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* Excellent Bargain Sensibly priced To Clear*

OUR REF 0482

Ref: 0482
Price: £3,750
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ART DECO OIL ON CANVAS PORTRAIT OF SEMI-NUDE LADY IN MOONLIGHT POSE 42 X 34 INCHES
A Quality Seductive oil on canvas nude study of a young lady posing in her see through silk gown.Very much a figurative abstract piece of art.

The painting is executed in generously applied oils and is of excellent quality with even brush strokes providing a good covering showing some direction in brush strokes.

We have done considerable research,but have been unable to identify the artist.

The painting is nicely presented in the original period giltwood and gesso decorative frame.

Measurements Including Frame are overall:
Height: 42 Inches
Width: 34 Inches

The exact date of this picture is uncertain,but in our opinion it is dated around 1930 or slightly later.

The lady in this painting looks a liitle shy in her appearance with the background colours reflecting a bluish tinge of moonlight glow and haze.

This is a fabulous example in oils and is of a professional standard and distinct style.

Indistinctly signed in the lower right hand corner.

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OUR REF: 0033 * A BARGAIN PRICE *
Ref: 0033
Price: £3,450
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Mansion House Antiques & Fine Art
East Midlands United Kingdom
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