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14 December 2018
ALL OIL PORTRAITS
Items: 1-20 | 21-40 | 41-60 | 61-80 | 81-100 | 101-111


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17thc (1625) Oil Portrait King Henry VII AFTER HOLBEIN THE YOUNGERS Whitehall Palace Tudor Dynasty Mural Royal Portraits 63 x 51 Ins
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: £48,500
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Pair Portraits C1621 Frances & Richard Graves Follower of Gilbert Jackson (1595-1648) Fine Oil Portrait Paintings Elizabethan Tudor Ruff Collars
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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RICHARD GRAVES Aged 49 is 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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FRANCES Nee Gourney ( Wife ) 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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LITERATURE:
The Graves family of Yorkshire and Mickleton Manor Gloucestershire England is one of the most ancient in England.
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.
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.
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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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LABELS VERSO
The portrait bears a paper label verso printed with 'No. 12 Kiftsgate Court, Hall, through Sidney Graves Hamilton' (Kiftsgate Manor was bought by son Richard Graves.
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FRAMES
The frame is the original 17thc gilt-wood example and is deeply carved with clusters of flowers and acorns.
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CONDITION
Good Condition commensurate with age requiring no work.
Frame has minor wear and a few losses and one large piece ( see bottom centre and top right
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INSCRIPTIONS
Dated upper left corner Ano 1621 / Inscribed upper right corner 49 ( 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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TELEPHONE ENQUIRIES. 07765 856171
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Quote Our Refs 0723/0724
Ref: 0723/0724
Price: £21,000
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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 Eating 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: £12,500
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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
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DELIVERY UK MAINLAND £125 WORLDWIDE SUPPLY ( Request Quotes )
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OUR REF 0528
Ref: 0528
Price: £10,950
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17THC OIL PORTRAIT PAINTING MR GIBSON OF DURIE WEARING ARMOUR & ATTRIBUTED TO 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
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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TELEPHONE ENQUIRIES 07765 856171
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DELIVERY UK MAINLAND £125
WORLDWIDE SUPPLY ( Request Quotes )
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OUR REF 0527
Ref: 0527
Price: £10,950
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Princess Anne of Denmark (1683-1702) Aged 18-21 Years & Later Queen Anne of England Follower of Godfrey Kneller (1646-1723) Fine Oil Paintings Royal Portraits
Description
An impressive grand scale full length portrait of Queen Anne, when Princess Anne of Denmark (1683-1702),aged around 18-21 and depicted in Royal Dress Robes standing full length in a palace interior and wearing a plush ermine lined cape and white dress profusely decorated with gold brocade.
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This particular portrait depicts a very young Princess Anne (nee Stuart) est. late 17thc after 1783-1786 before bearing her only child in 1789 and is very similar to works by Godfrey Kneller (1646-1723)
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ABOUT GODFREY KNELLER (Follower Of}
Sir Godfrey Kneller, 1st Baronet (born Gottfried Kniller, 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 I. His major works include The Chinese Convert (1687 Royal Collection, London) a series of four portraits of Isaac Newton painted at various junctures of the latter's life a series of ten reigning European monarchs, including King Louis XIV of France over 40 "kit-cat portraits" of members of the Kit-Cat Club and ten "beauties" of the court of William III.
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SYMBOLISM IN PICTURES
The use of objects within a still life painting that have a special meaning This creates a deeper meaning in a work besides being a pretty picture! The still life painting has allowed artists the ability to send these extra messages.
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Allegorical is representations of the brevity of life, decay and finally death and was a popular theme, called Vanitas.Allegory is a way of communicating a message via symbols, and symbolic figures.
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VANITAS (Latin for vanity). These are paintings with still life symbolism around a central theme with a moral message. They remind the viewer of death, the fragility of human life, and the brevity of our existence. The artist would use items like a skull, timepiece, snuffed out candle to represent the passage of time. Books, musical instruments (very expensive items during the time period) are there to warn of the futility of worldy pursuits.
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ABOUT THE SITTER
Anne was born on 6 February 1665 in London, the second daughter of James, Duke of York, brother of Charles II. Anne and her elder sister Mary received a Protestant upbringing although their father James converted to Catholicism and remarried. In 1683 Anne married Prince George of Denmark (1653–1708). She had between 16 and 18 pregnancies but tragically only one child survived - William, Duke of Gloucester and he died aged 11 of smallpox in 1700.
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Her sister Mary married William of Orange but Anne was forbidden by her father to visit her in the Netherlands. When William landed in England in 1688 to take the throne, Anne on the influence of her close friend Sarah Churchill (1650–1744) the wife of John Churchill (1650–1722), supported her sister and brother-in-law against her father James. Churchill was created Duke of Marlborough by William when he was crowned King William III and her sister Queen Mary II. Anne detested her brother-in-law, and the Churchill’s influence led her briefly during William’s reign to engage in Jacobite intrigues.
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Mary died in 1694 and on William’s death in 1702 and Anne succeeded to the throne and became the Queen of England, Scotland and Ireland between 8 March 1702 and 1 May 1707. On 1 May 1707, under the Acts of Union, two of her realms, the kingdoms of England and Scotland united as a single sovereign state known as Great Britain. She continued to reigns Queen of Great Britain and Ireland until her death in 1714.
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FRAMED MEASUREMENTS
Height 58.5 Inches (149 cm)
Width 39 Inches (99.5 cm)
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CONDITION
Very Good Throughout with evidence of an historical reline and signs of minor craquelure and retouching Commensurate with age, stretchers replaced in past.
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DELIVERY
UK Mainland £150 Next Day
Worldwide USA £375 Ex
Ref: 0777
Price: £10,750
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King Edward VI (1537-1553) Circa 1670-1700 Dutch Oil On Oak Panel 17th Century Historical Important Royal Portrait Paintings
I am delighted to offer this rare oil on panel of King Edward VI (1537-1553) as a young child of around 10 years of age which has been painted with great detail as a full length passage portrait in the Manner of William Scrots and set within a later 18th century decorative plaster mounded gilt frame.The portrait is estimated to date from 1670-1700 and is a rare and unique surviving historic work which any museum or private collector would be excited to own as a display piece or investment.
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The image is unusual, broadly similar but not quite the same as the various 'Scrots' templates. However the identical image, same size, panel, etc is in the collection at Trinity College, Cambridge.
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As an official royal likeness portraits of this type were in circulation from circa 1550 and were particularly favoured by noble families who wished to demonstrate their allegiance to the monarchy. This portrait was almost certainly one of a group of corridor portraits designed to hang beside fellow monarchs and men and women of rank and historical note.
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ABOUT THE YOUNG BOY KING
EDWARD VI (1537-1553) was King of England and Ireland from 28 January 1547 until his death. He was the only legitimate son of Henry VIII and his third wife, Jane Seymour.
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He was born at Hampton Court on October 12th, 1531, His mother dying 12 days later. The heir to the throne, ''His Majesty's most noble jewel'', was brought up with every precaution to ensure his good health. Recent research reveals him as a normally strong and healthy boy, fond of athlethic exercises such as hunting and hawking.
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Edward was little more than nine when he succeeded to the throne on the death of his father in 1547. In April 1552 he suffered from measles and smallpox, recovering by the end of May, and thereafter he was very much under the influence of the Duke of Northumberland.
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Early in 1553 Edward became ill with consumption, from which he never recovered. At this time the Duke of Northumberland convinced Edward to ''devise'' the succession to Lady Jane Grey, Northumberland''s daughter-in-law. Edward died on 6th July 1553 and was buried at Whitehall.
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After his accession to the throne, Edward appears to have sat only once more for his portrait in around 1550 and was painted by William Scrots. This sitting was the likely source for all subsequent variants, in all shapes and sizes, produced of Edward as the King by the Scrots studio, both during the monarch's brief reign and after Elizabeth I's accession and the subsequent re-affirmation of the Protestant faith.
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Scrots had been court painter to the Regent of the Netherlands, Mary of Hungary , and was recruited by Henry VIII as Holbein's successor at the close of 1545. His work, covering less than 10 years in this country, has never been satisfactorily reconstructed.
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One certain work can be associated with him from this period - the distorted perspective portrait of Edward dated 1546 (National Portrait Gallery, London). This bore the signature ''Guilhelmus pingebat'' as late as 1713.
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ABOUT THE ARTIST
WILLIAM (GUILLIM) SCROTS fl.1537-1553. Court portrait painter from the Netherlands. Painter to Mary of Hungary, Regent of the Netherlands,1537, and persuaded to come to England in 1545, probably to succeed Holbein. He was perhaps the most able available Hapsburg Court portrait painter at the time. He disappears from the Royal Accounts in 1553.
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PROVENANCE
Charles James Toovey Esq., Harley House, Regents Park, London.
With Leggatt's, London, by 1929. Sold for £29 to Captain A.S. Wills (1879-1961) of Thornby Hall, Northamptonshire
Then by descent through the family at Middleton House, Longparish, Hampshire.
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CONDITION
GOOD Condition Commensurate With Age / Frame Slightly Distressed
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FRAMED MEASUREMENTS
Height 29 Inches ( 58.5 cm )
Width. 19 Inches ( 48.25 cm )
Ref: 0787
Price: £10,500
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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.
See last image
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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 smaller 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
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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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TEL: 07765 856171
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REF 0709
Ref: 0709
Price: £10,500
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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 minor wear and a few losses and one large piece ( see 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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TELEPHONE ENQUIRIES. 07765 856171
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Our Ref 0723
Ref: 0723
Price: £10,500
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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 and a few losses.
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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 Mainland Add + £100
WORLDWIDE Supply Quotes on Request.
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TELEPHONE ENQUIRIES. 07765 856171
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Our Ref 0724



Ref: 0724
Price: £10,500
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Huge 17thc Portrait Judge Robert Dormer MP By Thomas Hill English School Oil Paintings
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.

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 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 £150 WORLDWIDE ( Request Quotes )
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OUR REF 0370
Ref: 0370
Price: £8,750
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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
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TELEPHONE 07765 856171
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OUR REF 0382 Suberb Hand Crafted Original Frame
Ref: 0382
Price: £7,650
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18thc Oil Portrait of a Swedish Society Lady Attributed to Ulrika (Ulla) Fredrica Pasch (1735 - 1796) European School
I am delighted to offer for sale a quality three quarter length oil portrait on canvas of an Aristocratic Lady in all her finery.
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ABOUT THE ARTIST
The artist, Ulrika "Ulla" Fredrica Pasch, was a Swedish rococo painter and miniaturist, and a member of the Royal Swedish Academy of Arts and was the most famous and successful female artist in Sweden
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This beautifully rendered and impressive large scale portrait from the mid 18th Century circa 1750 depicts the lady in a garden setting.
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This elegant young lady of aristocratic appearance is portrayed wearing a fine blue silk boddice embellished with satin and with a plethora of colourful flowers gathered within the fullness of her dress.
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The pallete of blue, white and pink, favoured by the late baroque painters, create the perfect harmony of colour.
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This is an attractive image having soft modelling of forms and depicts a gentle oval of the face with slightly rosy cheeks and is the epidemy of the Rococo portrait.
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FRAMED MEASUREMENTS
Height 43.25 Inches (110 cm)
Width 35 Inches (89 cm)
Depth 2.5 Inches (6.5 cm)
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DELIVERY
UK Mainland Add + £100 Next Day Express Recorded Service
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WORLDWIDE Supply Extra ( Please Request Quotes )
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TELEPHONE ENQUIRIES: 07765 856171
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Quote Our Ref : 0793
Ref: 0793
Price: £6,950
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Affordable Fine Art French Naval Officer Wearing Order of St.Louis Military 18thc Oil Portrait Paintings
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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Quote Our Ref 07130
Ref: 07130
Price: £5,950
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Huge c1780 Correggio Oil Titled Rest on the Flight into Egypt After Antonio Allegri Da Correggio (1489-1534 Fine 18thc Oil Portrait Paintings
After Antonio Allegri Da Correggio (August 1489 – March 5, 1534) Titled " Rest on the Flight into Egypt " with inscription on stretcher verso stating:
L.Ponyuignoti Firenire Piazza St Croce 7670
Either the painters name and address or
suppliers details.
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This sought after example depicts The Madonna & Child with Saint Francis & Saint Jerome of Assisi.
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Usually known as Correggio (Italian: was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century. He is considered a master of chiaroscuro.
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BIOGRAPHY
Antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant.[citation needed] Otherwise little is known about Correggio's early life or training. It is, however, often assumed that he had his first artistic education from his father's brother, the painter Lorenzo Allegri.
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In 1503–5 he was apprenticed to Francesco Bianchi Ferrara in Modena, where he probably became familiar with the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514 he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio, where, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis.
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FRAME
Beautifully Carved Gilt Wooden Florentine Frame 6 Inches ( 15 cm ) in Width.
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MEASUREMENTS ( Including Frame )
Height 48 Inches ( 122 cm )
Width 42 Inches ( 107 cm )
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CONDITION
Original as found condition and would benefit from a clean.
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DATELINE
Estimated Late 1775-1825 very latest.
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DELIVERY
UK Mainland Add £150
Worldwide Supply (Quotes on Request)
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TELEPHONE : 07765 856171 OR TEXT
Hours 10am-10pm 7 Days A Week
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QUOTE OUR REF 0747
Ref: 0747
Price: £5,500
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17thc Baby Portrait Circle of Mary Beale (1633-1699) English School Oil Paintings
Fine late 17thc Oil Portrait of a baby holding a coral teether.
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ABOUT THE ARTIST ( Circle of Mary Beale )
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Mary Beale (née Cradock; late March 1633 – 8 October 1699) was one of the most successful professional female Baroque-era portrait painters of the late 17th century due to her perseverance of her business.
Praised by Richard Gibson and court painter Peter Lely, she is considered as successful as Joan Carlile.
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Joan Carlile was also an English portrait painter, who was one of the first women to practise painting professionally. Mary Beale managed to be the financial provider for her family through her professional portrait business.
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Mary Beale stood apart from other women due to her outspokenness and successful business that allowed her to be the breadwinner of the family.
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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 late 17th Century Region of (1690 )
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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 <<
Ref: 0675
Price: £5,500
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17thc Portrait Of An Elegant Lady Circle of Godfrey Kneller English School Painting
A fine oil on canvas portrait of an elegant young lady depicted 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
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
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 century.
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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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DELIVERY
UK Mainland Next Day Add + £50
WORLDWIDE Supply ( Please Request Quotes )
-
TELEPHONE ENQUIRIES: 07765 856171
-
QUOTE OUR REF 0439



Ref: 0439
Price: £4,950
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Oliver Cromwell The Lord Protector Of England (1599-1658) After Sir Peter Lely Oil Portrait Painting
We are delighted to bring to the market a pleasing oil portrait on canvas estimated to be dated as late 18th Century and representing a depiction of Oliver Cromwell (1599-1658) after the original by Sir Peter Lely in c1657.

Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin whose career was nearly all spent in England, where he became the dominant portrait painter to the court.

The portrait has been presented in a nicely carved solid oak frame with a gilt slip to finish the presentation.

ABOUT OILIVER CROMWELL
Oliver Cromwell (25 April 1599 – 3 September 1658)[a] was an English military and political leader. He served as Lord Protector of the Commonwealth of England, Scotland, and Ireland from 1653 until his death, acting simultaneously as head of state and head of government of the new republic.

Cromwell was born into the middle gentry to a family descended from the sister of King Henry VIII's minister Thomas Cromwell. Little is known of the first 40 years of his life, as only four of his personal letters survive along with a summary of a speech that he delivered in 1628.[1] He became an Independent Puritan after undergoing a religious conversion in the 1630s, taking a generally tolerant view towards the many Protestant sects of his period. He was an intensely religious man, a self-styled Puritan Moses, and he fervently believed that God was guiding his victories. He was elected Member of Parliament for Huntingdon in 1628 and for Cambridge in the Short (1640) and Long (1640–1649) Parliaments.

He entered the English Civil Wars on the side of the 'Roundheads' or Parliamentarians, nicknamed 'Old Ironsides'. He demonstrated his ability as a commander and was quickly promoted from leading a single cavalry troop to being one of the principal commanders of the New Model Army, playing an important role under General Sir Thomas Fairfax in the defeat of the Royalist ('Cavalier') 11th forces.

FRAMED MEASUREMENTS
Height: 35 Inches
Width : 30 Inches
Depth : 4 Inches

CONDITION
Canvas is tight on stretchers and painted surface is in very good order indeed.
The portrait been correctly cleaned in the past and has no signs of any craquelure.

FRAME
The carved oak frame has signs of distress throughout consistant with age and wear and having some minor losses and shrinkage in the wood around corner joins, but now restored and is not too noticeable,
Wired and eady to hang.

DELIVERY
Man & Van Service Inc Package & Postage Add + £80 ( 7-10 ) Days

TELEPHONE ENQUIRIES: 07765 856171

Quote OurcRef 07960
Ref: 07960
Price: £4,500
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Affordable Fine Art King Charles 1st (1600-1649) After Van Dyck Old Master 18thc Oil Portrait Paintings
We are delighted to offer for sale this fine 18th Century oil portrait on canvas which is an excellent version of one of Van Dyck’s finest portraits of Charles Ist and depicts him wearing the Order of the Garter on a blue silk ribbon with a gold locket attached.
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SIR ANTHONY VAN DYCK (22 March 1599–9 Dec 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years.
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These sought after portraits of van Dyck's works are difficult to date precisely,but copies were produced around the middle of the 17th - 18th Centuries particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures and passage portraits adorning the private walls of Royalist supporters. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).The larger passage Portrait would be hung in hallways and corridors.
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One of the series of portraits after Van Dyck and Lely. By the reign of George III they were attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio.
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Leemput's copy is now at Hampton Court. He was one of the purchasers at the sale of King Charles's collection, and among his purchases was the great picture of Charles I on horseback, by Van Dyck (now at Windsor), which was recovered from him with some difficulty at the Restoration.
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ABOUT KING CHARLES 1ST
Charles I (19 November 1600 – 30 January 1649 was monarch of the three kingdoms of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649.
Charles was the second son of King James VI of Scotland, but after his father inherited the English throne in 1603, he moved to England, where he spent much of the rest of his life. He became heir apparent to the English, Irish and Scottish thrones on the death of his elder brother, Henry Frederick, Prince of Wales, in 1612. An unsuccessful and unpopular attempt to marry him to a Spanish Habsburg princess culminated in an eight-month visit to Spain in 1623 that demonstrated the futility of the marriage negotiations. Two years later he married the Bourbon princess Henrietta Maria of France instead.
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FRAME
Presented in a later decorative moulded swept frame in original as found order with no losses or repairs.
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CONDITION
The portrait is in excellent original condition having had an historic clean in the past with only very faint craquelure still looks exceptional and is ready to hang. Replacement wedges verso with nylon ties.The lace work has slight signs of wear consistant with age.
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FRAMED MEASUREMENTS :
Height 29 Inches (74 cm)
Width 25 Inches (64 cm)
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DELIVERY
UK MAINLAND Add £50 Next Day Recorded Service With Insurance
-
WORLDWIDE SUPPLY EXTRA
( Please Request Quotes )
-
QUOTE OUR : REF 07820
Ref: 07820
Price: £4,500
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Affordable Fine Art Young Girl & Pet Dog 18thc English School Oil Portrait Painting
Description
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
Fine craquelure commensurate with age.
The canvas has tiny old repair patches verso.Looks unnoticeable from the front.
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FRAME
Presented in a fine period decorative paster swept gilt frame in good order
having no losses.
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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.
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DELIVERY UK MAINKAND + £80
WORLDWIDE ( Request Quotes )
-
TELEPHONE 07765 856171
-
QUOTE OUR REF 0650
Ref: 0650
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
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