John Arthur Lomax (1857-1923)

John Arthur Lomax (1857-1923)

The Debate

Oil on Panel, 29 x 44cm / 42 x 57cm

POA

Born in Manchester in 1857, Lomax studied at the Munich Academy in Stuttgart before returning to Manchester and finally to London. His paintings are mainly historical genre subjects with particular interest in the Civil War period, often with dramatic and sentimental quality. He is much noted for his ability to render in great detail individual expression and differences in quality of textures. This is a small and exquisite painting that keeps the viewer entranced with its clever composition, drama and detail. A fine example that great paintings come in all sizes. Lomax exhibited at The Royal Society of British Artists, Birmingham, Walker Art Gallery, Liverpool, Manchester City Art Gallery, The Royal Academy and the Royal Institute of Oil Painters. 

Japanese Imari Charger Circa 1900.

Japanese Imari Charger Plate circa. 1900

D 30cm

£275.00

Imari porcelain is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyūshū. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. Imari or Arita porcelain has been continuously produced up through the present day.

Typically the colours used are cobalt blue with red and gold. While subject matter is varied with foliage and flowers, people, genre scenes and pattern.  Most designs are uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. 

James Ward (1769-1859)

James Ward (1769-1859)

Fighting Dogs

Oil on Canvas, 29 x 34cm / 42 x 47cm

Born in London, and younger brother of William Ward the engraver, James Ward was influenced by many people, but his career is conventionally divided into two periods: until 1803, his single greatest influence was his brother in law George Morland; from that time, it was Rubens. From 1810 or so, Ward started to paint horses within landscapes; slightly later, he turned to very large-scale landscapes, of which Gordale Scar (Tate, London), completed in 1814 or 1815 and depicting Gordale Scar (Yorkshire) as an example of thesublime, is considered his masterpiece and a masterpiece of English Romantic painting.

James Ward was one of the outstanding artists of the day, his singular style and great skill set him above most of his contemporaries, markedly influencing the growth of British art. Regarded as one of the great animal painters of his time, James produced history paintings, portraits, landscapes and genre. He started off as an engraver, trained by William, who later engraved much of his work. The partnership of William and James Ward produced the best that English art had to offer, their great technical skill and artistry having led to images that reflect the grace and charm of the era. He was admitted for membership into the Royal Academy in 1811.

One of Ward's best-known paintings,The deer stealer, was commissioned in 1823 for the sum of 500 guineas by Ward's patron Theophilus Levett. When the work was finished, Levett pronounced himself delighted with the results, and consequently raised the remuneration to 600 guineas. Subsequently Ward was said to have been offered 1,000 guineas for the painting by 'a nobleman,' which he declined. The painting now hangs at Tate in London.

Attributed to The Unknown Follower of Custodis (Fl. 1531-1607)

Attributed to

THE UNKNOWN FOLLOWER OF CUSTODIS (fl. 1590-1612)

Painted 1597

 ‘Sir John Fortescue (c.1531-1607)’

Oil on panel: 42 x 32 inches

Inscribed upper right with date and sitter’s age ‘Ano Domini. 1597/ Aetatis Suae.64.’ and upper left with family coat of arms. 

Provenance: Gabriel Goodman (1529-1601), Dean of Westminster, The Warden, Christ’s Hospital, Ruthin, Private collection, England

Literature: John Steegman, A Survey of Portraits in Welsh Houses, Vol. I, Houses in North Wales, National Museum of Wales, Cardiff, 1957, p.91 Thomas, Lord Clermont, A History of the Family of Fortescue in all its Branches, London, 1880, p.94

Sir John Fortescue (c.1531-1607), Chancellor of the Duchy of Lancaster (1601-1607), was descended from a distinguished West Country family of administrators and lawyers. He was the eldest of three sons of Sir Adrian Fortescue (c.1481-1539), who was executed for alleged treason on 9th July 1539, most likely because of his close kinship to Anne Boleyn (1500-1536). Nonetheless, the family’s fortunes changed for in 1540 Fortescue’s mother married the royal household administrator, Sir Thomas Parry (1515-1560) and subsequent to this, the family estate was restituted to her eldest son, John Fortescue, by an act of Parliament in 1551. Probably on the instigation of his step-father, sometime around 1555 John Fortescue entered Princess Elizabeth’s household at Woodstock, Oxfordshire, where he was appointed clerk of the library in 1556 and was later appointed Superintendent of the Princess Elizabeth’s studies. Subsequent to Elizabeth’s accession to the throne in 1558, Fortescue was made Master (or Keeper) of the Great Wardrobe, a post he held until his death. On 10th February 1588, Fortescue’s loyal and long-standing service was rewarded with his appointment as Privy Councillor to Elizabeth I.  Considered a very able administrator, he rose to prominence as Chancellor of the Exchequer to both Queen Elizabeth I and King James I. Whilst the office of Chancellor of the Exchequer can be traced from the twelfth century, its significance as an administrative and financial office is generally dated to the late sixteenth century, during Fortescue’s tenure

Our painting has been attributed to an anonymous artist identified as the Unknown Follower of Custodis (fl. 1590-1612). It is characteristic of the artist’s style with an iconic, two dimensional format and limited palate. Hieronimo Custodis himself was a protestant émigré from Antwerp who had fled to England after the capture of the city by the Duke of Parma in 1585. His dated works are from 1589 until his death in 1593, therefore our painter seems likely to have been an assistant of Custodis and perhaps even inherited his pattern book.

 Identification of our sitter is based on the elaborate family armorial displayed top left on a red marble pillar. Sir John Fortescue is shown three-quarter-length, wearing a black doublet, white ruff, a high-crowned beaver hat and resting his right hand on the knob of a walking cane. Suspended on a gold cord around his waist, he wears a cameo jewel depicting a bust-profile of Elizabeth I. A noted scholar, Fortescue counted Sir Thomas Bodley (1545-1613), the founder of the Bodleian library, and Sir Gabriel Goodman (1529-1601), Dean of Westminster, among his friends. It is likely that the portrait was painted as a gift for Goodman and it is almost certain that Goodman gave the painting to Christ’s Hospital or the Grammar School at Ruthin, both of which institutions he founded. For many years our painting of Sir John Fortescue hung in the Cloisters of St Peter’s Church at Ruthin. The Cloisters also held a portrait of his good friend, Sir Gabriel Goodman, painted in 1600, and these portraits most likely hung together at Ruthin.

John Fortescue (d. 1432) of Holbeton in Devon, was an administrator in the service of the Courtenay family. His eldest son, Henry (d.1490)  held the post of chief justice of the king's bench of Ireland between 1426 and 1429, whilst his second son, Sir John (c.1397–1479), was revered as a justice and political theorist.

Oxford Dictionary of National Biography, accessed 18/05/09. Arnold, J ( 1988)  ‘Queen Elizabeth’s Wardrobe Unlock’d’, pp.163-165.  Maney and Sons: Leeds.

As Keeper, Fortescue was responsible for the care of the Queen’s royal attire, textiles and jewellery as well as armour, furniture, state documents and the occasional detention and interrogation of prisoners.

Even after that date, the chancellorship remained a comparatively administrative position, concerned more with the daily administration of the realm rather than parliamentarian policy. However, it grew in importance in line with a shifting balance of power between the crown and parliament and key resolutions passed by the House of Commons in 1706 and 1713 endowed the executive, rather than the monarchy, with the authority to initiate and approve financial legislation. These changes meant that the office of chancellor, formerly administrative, became increasingly political. Since the early nineteenth century, the Chancellor of the Exchequer has been the cabinet minister responsible for finance and the head of HM Treasury.

The artist was first identified by Sir Roy Strong on the basis of an identical form of inscription used. See: Strong, R. (1963) Elizabethan Painting: an approach through Inscriptions – Hieronimo Custodis, Burlington Magazine, CV, 1963, p.104. The small corpus of work by this artist was latter published in his seminal work, Strong, R. (1969)  The English Icon, pp.207-214

Our thanks to Timothy Duke, Chester Herald, College of Arms for his assistance in identifying the sitter. He confirms that the quarterly Arms and Crest on this portrait are also recorded (with some minor differences) in the funeral certificate of Sir John Fortescue

John Steegman, A Survey of Portraits in Welsh Houses, Vol. I, Houses in North Wales, National Museum of Wales, Cardiff, 1957, p.91

 

John & Elizabeth Hartley, A pair of Portraits.

John & Elizabeth Hartley of Whitehaven, 18th Century

Oil on Canvas, 89 x 69cm / 108 x 87cm 

 

A possible attribution to Thomas Beach has been made on these lovely portraits. Finding a pair such as these, in very good condition and named sitters, is rare. 

Thomas Beach (1738-1806) was a pupil of Sir Joshua Reynolds, he was much in demand for his portraits and portrait groups.

 

German or English School Circa. 1760-80

Ex Hannover Collection, Prince Ernest Augustus, Duke of Cumberland,

English or German school, circa 1760 - 1780

Portrait of a family member or courtier

Oil on Canvas, 92 x 67 cm / 113 x 89cm

A fine portrait of a gentleman and his dog, in a beautifully painted landscape setting. 

 

 

Michiel Jansz van Mierevelt (1567-1641)

Michiel Jansz van Mierevelt or Miereveldt, Miereveld (1566-1641)

Portrait of a Man, 

Signed and dated, Oil on Canvas, 60 x 52cm / 78 x 71cm

An exquisite example of this well known portrait painter's work. It being signed and dated makes this of great interest as often his works went unsigned due to the prolific output of his studio and the high demand for his portraits. 

With typically detailed and skilled rendition of the lace ruff, the luminous skin tones and the direct gaze of the sitter, this portrait is truly an exceptional piece. 

Van Mierevelt (1566-1641) was a pupil of artist Anthonie Blocklandt of Utrecht. After a two-year apprenticeship, he returned to his native Delft. He received commissions for portraits from the stadholder court in The Hague: including Prince Maurice and members of the Orange family. This led to commissions from other wealthy families and diplomats. To meet the demand, Van Miereveld employed assistants, including his sons Pieter and Jan. His portraits became even more widely known when his son-in-law Willem Delff copied them as prints. 

Edward Williams Senior ( 1782-1855)

Edward Williams Senior ( 1782-1855)

Landscape with Cathedral

POA

Oil on Canvas, 75 x 62cm / 102 x 89cm Framed, Original Frame

Edward Williams Senior (1782-1855), father of the well known Williams family of painters and founder of the Barnes School, was popular and successful as a landscape painter during the Victorian era. The Williams family paintings are characterised by genre scenes typical of the English landscapes of their time. Interestingly the fact that the figures and objects in his landscapes take second place to the skilled rendering of light and shadows parallels the attitude to portrait painters over landscape painters during this time. 

The Williams family of painters were popular in their own times and are well represented in collections across the country.

After Claude Lorrain (circa. 1604 - 1682)

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After Claude Lorrain (circa. 1604 - 1682) 

'Capriccio'

Oil on Canvas, 132 x 100cm / 149 x 115cm

Claude Lorrain, born Gellee, in Vosges in Lorraine - then the Duchy of Lorraine, an independent state until 1766, one of five children, orphaned at twelve, went to live at Freiburg then moved to Rome and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. In 1625, returning to Rome he  became apprenticed to Augustin Tassi. He toured widely through Italy, France and Germany and at Nancy he painted architectural subjects on the ceiling of the Carmelite church. In 1627 Lorrain returned to Rome. Two landscapes made for Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. From about 1637 he rapidly achieved fame as a painter of landscapes and seascapes. He apparently befriended his fellow Frenchman Nicolas Poussin; together they would travel the Roman Campagna, sketching landscapes. 

In order to avoid repetition of subjects, and also to expose the many spurious copies of his works, he made tinted outline drawings (in six paper books prepared for this purpose) of all those pictures sent to different countries; and on the back of each drawing he wrote the name of the purchaser. These volumes he named the Liber Veritatis (Book of Truth). This valuable work, engraved and published, has always been highly esteemed by students of the art of landscape. 

Landscape as a subject was considered unclassical and secular. Pure landscape, like pure still life painting or genre, was considered lacking in moral seriousness - in comparison to the prized mythic or religious scenes of this time. 

In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography.

John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude's landscape "all is lovely - all amiable - all is amenity and repose; the calm sunshine of the heart". (From Wikipedia)

Mother of Pearl Tea Caddy

Mother of Pearl Tea Caddy, Regency Period

23 x 12 x 25cm 

£1750

A beautiful tea caddy, in mother of pearl with red velvet interior, a rare find and in excellent condition and a lovely decorative item. With working lock and key. 

Although wooden Tea Caddies were made early in the 18th century, it is not until the second half of the century that they were introduced  in any numbers as a home style accessory.

The word caddy derives from the Malay "kati" a measure of weight about 3/5 of a kilo. The 17th century tea containers were bottle shaped tea jars in china, glass, silver, enamel and straw-work covered metal. Tea Caddies were made in wood in box form from the second quarter of the 18th century. The first such boxes were shaped like small chests and contained three metal canisters. They were mostly made of mahogany although a few early ones were of walnut. Very occasionally a chinoiserie box was made. Complete boxes of this type are difficult to find, especially in walnut. Chinoiserie boxes are exceedingly rare. 

In England in the 1700s, tea was an expensive commodity. To keep it safe, people would store it in a lockable Tea Chest or Tea Box, which eventually became known as a Tea Caddy.  As tea was too expensive to risk leaving in the presence of servants, the caddy would be kept in the drawing room. Subsequently, the Tea Caddy became an important & fashionable accessory for the home.

Today Tea Caddies are sought after as decorative pieces, in all shapes & forms.

Benjamin Williams Leader (1831-1923)

Benjamin Williams Leader (1831-1923) 

On the River Llugwy

Oil on Canvas, 60 x 42cm / 88 x 68cm

Benjamin Williams Leader was born in Worcester, his father was a keen amateur artist - a friend of Constables, and studied art at Worcester School of Design and later at the Royal Academy. The surrounding countryside to where he lived served as his early inspiration, the picturesque villages and churches, the fields and rivers. His work proved very popular and he sold successfully. He was a regular exhibitor at the RA. 1859 proved to be his most successful year yet, exhibiting his 'A Quiet Pool in Glen Falloch',  following a trip to Scotland, Leader' s work was bought by Agnew's and was now going to private galleries rather than being exhibited publicly.

He painted the landscapes and scenes between the Severn Valley, Worcestershire, and Wales, in particular, exhibited to much acclaim at the RA 1865, was 'Autumn's Last Gleam' and later in 1881 'February Fill Dyke', following which he became an associate (ARA) and then a Royal Academician (RA) in 1898.

His works are represented in many museum and private collections. 

 

 

Arthur H Rigg (1868-1947)

Arthur H Rigg (1868-1947)

A Scottish Landscape

Oil on Canvas, 112 x 76cm / 146 x 110cm

Arthur H Rigg was a British painter well known for his beautiful landscapes. This work sits within a gilt period frame and would make a lovely statement piece for any room. 

  

Georg Wilhelm LaFontaine or G. Fountaine 1680-1745

Georg Wilhelm LaFontaine or G. Fountaine (1680-1745

George I (1660-1727)
Inscribed by the artist George King of Gt Britain, drawn from life , 62nd year of his age, 1727 by G Fountaine

223cm x 149cm / 296cm × 163 cm, Oil on Canvas

Provenance

Ex. Hyder Collection. 

SOLD to a private collector.

 

A rare and substantial life size portrait of George I, painted in the year of his death and most notably inscribed by the artist as being painted directly from life. The original commissioned portrait of George I was to Sir Godfrey Kneller (1646-1723), and thereafter copies of the official portrait were made by Studio of, attributed to Kneller or by named artists but 'after' Kneller. Hence this painting is of particular interest, firstly for this inscription, secondly because it carries a notice on the reverse that reads:  

"George I, painted from life by G. Fountaine 1727, presented by the monarch to John Sparrow, Bailiff of Ipswich in return for attentions received during his visit to Ipswich from Mr Sparrow, and the presentation of a huge sweet cake called Marchpane" (John Wodderspoon - Memories of the ancient town of Ipswich 1850, page 33)

The family tradition is that the picture was presented to the Sparrow family by the King himself with a venison pasty. (Mrs J C Marshman 5/8/1952)

Thirdly and finally this painting is notable as it was originally held in the Hyder Collection and the stunning frame with its Gold Crown atop, is similar to those of various paintings at Hampton Court Palace, where this portrait, is thought to have come from prior to being held in the Hyder Collection. 

Georg Wilhelm LaFontaine or Fountaine, was a Hanovarian Court painter.

This framed painting is for sale please contact us

 

 

 

 

 

 

 

 

 

 

 

 

Arthur A Davis (1877-1905)

Arthur A Davis, (British fl 1877-1905),

'Resting' 

Framed watercolour, signed, 59 x 47cm / 36 x 26cm

£2,950 (Set of Four)

Arthur A Davis was well known for his dogs, his name is synonymous with Victorian sporting art. As a set of four, these paintings make a beautiful group, signed and dated by the artist. 

Mary Beale (1633-1699)

Portrait of Margaret Wharton 

Mary Beale (1633-1699)

Oil on Canvas 126 x 103cm

Sold to Private Collector, UK 

Provenance 

Collection of Earl and Countess of Swinton Exhibited at Royal Academy exhibition of the Works of Old Masters, 1882 – contributed by John M. Teesdale

Stowe sale, September 1848 bought by James Dorington

 

Considered to be Britain’s earliest professional female painter, Mary Beale, (1633–1699), was a prolific portrait artist and commercially very popular at the time. She was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector, amateur painter, and a member of the Worshipful Company of Painter-Stainers. She was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of eighteen, she married Charles Beale, a cloth merchant from London – also an amateur painter. Many details of her busy working life are recorded in the notebooks kept by her husband, who acted as her studio assistant. During the 1650s and 1660s, Mary Beale was a semi-professional painter, working from her home in Covent Garden and later in Fleet Street. In 1665 due to the Great Plague of London and their financial circumstances the family moved to a farmhouse in Hampshire where, for the next five years, a two storey timber-framed building was her family home and studio until she returned to London in 1670. Back in London she established a studio in Pall Mall, while her husband became her assistant and kept the accounts. Mary Beale became very successful, mixing with the likes of Thomas Flatman, the poet Samuel Woodford, the Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet. She became reacquainted with Peter Lely, now Court Artist to Charles II, who had a great influence on her later work, being mainly small portraits or copies of Lely’s work. Her work became unfashionable after his death in 1680. She died in 1699 in Pall Mall, and was buried at St. James’s, Piccadilly in London. Her second son, Bartholomew, painted portraits before taking up medicine. While a third son, named Charles after his father, was also a painter, specialising mainly
in miniatures. The sitter was the eldest daughter of Philip 4th Baron Wharton (1613–1696) and his second wife Jane Goodwin. Her father was a staunch Parliamentarian and close friend of Oliver Cromwell. He had a great taste for architecture and gardening and spent a handsome sum on his home at Woburn. He had a considerable collection of works by Van Dyck of whom he was an important patron. She married three times: her first husband was Major Dunch (1651–1679) by whom she had one son and two daughters. Following his death she married Sir Thomas Sulyarde, 2nd Baronet of Delaware and Chiddingstone, Kent (1648 –1692) and subsequently William, 12th Lord Ross of Halkhead (1656 –1738). 

 

William Wissing (1656-1687)

Wiliam Wissing (1656-1687)

The Honourable Francis and Henry Lennard 

Circa. 1675, inscribed lower right, Oil on Canvas 155 x 163 cm (unframed) 

Sold to a Private Collector UK 

A notable work by an eminent 17th Century artist, this large painting is amongst Wissing's most engaging and consulate works. It belongs to an exclusive group of Restoration double portraits, and shows the Lennard brothers, younger sons of Francis, 14th Lord Dacre (1619-1692). The painting has been previously attributed to Sir Peter Lely. 

The Dacre family were regular sitters for the leading artists of the day from 1660's onwards. A well known double portrait by Lely of the 14th Lord Dacre and his wife, the Countess of Sheppey, now in private hands, dates from around 1660. Francis Lennard, succeeded to the title of 14th Lord Dacre in 1630.He was educated at Merton College, Oxford, and a Member of Parliament fro Sussex in 1654. The family at that time had Herstmonceaux in Sussex in 1654 as their primary residence, while holding a portfolio of estates including Cheapening, Kent and Belhus, from whence this painting came, as well as significant houses in London. 

William Wissing, was initially a Dutch portrait painter who settled in England in 1670's where he became associated with Sir Peter Lely. His reputation was extensive in his own lifetime, with a number of his royal works being put into print. '(Wissing) became the painter in vogue, especially among the ladies. He is said to have always caught the beautiful likeness; and if any of the sex who sat to him had too much paleness in her countenance, which is frequently the effect of long sitting, he took her by the hand, and danced her about the room, to add life and spirt to her beauty'. James Granger, early 18th Century biographer.  

 

Arthur A Davis (1877-1905)

Arthur A Davis, (British fl 1877-1905),

'A Long Shot' 

Framed watercolour, signed, 59 x 47cm / 36 x 26cm

£2,950 (Set of Four)

Arthur A Davis was well known for his dogs, his name is synonymous with Victorian sporting art. As a set of four, these paintings make a beautiful group, signed and dated by the artist. 

George F Papperitz (1846-1918)

George F Pappertiz (1846-1918)

Portrait of a Beautiful Lady 

70 x 58cm / 93 x 82cm

George F Papperitz was a well known German artist whose skill and technique is exemplified in this beautiful and sensitive work. 

Japanese Imari Jardiniere 19th Century

Japanese Imari Jardiniere 19th Century

H 25cm D 26cm 

£1,250

Imari porcelain is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyūshū. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. Imari or Arita porcelain has been continuously produced up through the present day.

Typically the colours used are cobalt blue with red and gold. While subject matter is varied with foliage and flowers, people, genre scenes and pattern.  Most designs are uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. 

Chatsworth House

Unsigned 18th Century of Chatsworth House

Oil on Canvas 26 x 33cm / 39 x 46cm

SOLD to Chatsworth House Collections. 

A lovely little painting, with fine detail and colour in a simple classic gilt frame.