Posts filed under Type: portrait

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

SOLD to a Private Collector UK 

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. 

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

 

 

 

 

 

 

 

 

 

 

 

 

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.  

 

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. 

After Bartholomeus Van der Helst (1613-1670)

After Bartholomeus Van der Helst (1613-1670)

A Double Portrait

Oil on Canvas, 187 x 135cm / 207 x 155cm

A large, beautifully detailed portrait of a Dutch Gentleman and his wife, with stunning, rich colour and composition. A real statement piece that would give a true sense of history, quality and style to any home. A painting that one can easily fall in love with. 

Bartholomeus Van der Helst was born in Haarlem and moved to Amsterdam around 1636. There is no documentation as to who he might have studied painting under, but at this time he would no doubt have been influenced by such contemporary artists as Frans Hals and Rembrandt. 

His first dated picture, a group portrait of the regents of the Walloon Orphanage (currently the location of Maison Descartes in Amsterdam), dates from 1637. In 1639 he won his own schutterstuk commission, The company of Captain Roelof Bicker and Lieutenant Jan Michielsz Blaeuw. In Amsterdam he may well have trained with Nicolaes Eliaszoon Pickenoy.

Importantly as a contemporary of Rembrandts, van der Helst gained a reputation for his flattering portrayals in the style of van Dyck, being more appealing than Rembrandts somewhat darker and more introspective work to such an extent it wa known that a number of Rembrandt's pupil's adopted van der Helt's style. 

His large group portrait, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, was painted in 1648, and exhibited to popular acclaim. It was this painting that sealed his fame for future generations, according to Arnold Houbraken, and it was admired by Godfried Kneller and praised by Sir Joshua Reynolds in 1781 as 'perhaps the first picture portraits in the world, comprehending more of the qualities which make a perfect portrait than any other I have ever seen'. A statement that shows van der Helst's importance as a portrait painter, this work being an exemplary show of the artist's skill and style. 

Today van der Helst's most famous portrait is his half-length portrayal of Gerard Andriesz Bicker, the son of Andries Bicker, the mayor of Amsterdam, whom he also painted in 1642. 

Jan Mijtens or Johannes Mytens (1614-1670)

Johannes Mytens (1614-1670)

A Family Portrait 1648 

Oil on Canvas, Signed and dated, 111 x 149.5cm

Sold to Private Collector, UK

Mytens was born in the Hague and according to Houbraken, was trained by Anthony van Opstal and later by Nicolas van der Horst. Mytens became a member of the Hague Guild of St Luke in 1642, and helped set up the Confrerie Pictura, a club of artists founded in 1656 in a reaction against the Guild of St Luke. He was the son of a saddle maker, learning to paint from his uncles Isaac Mijtens and Daniel Mitjens, both well known artists. After fifteen years as a member of the Hague Guild of Painters he became its Governor. 

Throughout his life, he was a fashionable portrait painter, receiving commissions from prominent citizens, members of the nobility, and high placed government officials. He painted for Dutch Royalty and specialized in portraiture, genre pieces and historical allegories. Mytens was especially skilled at rendering the clothing of his affluent sitters. His portraits can be divided into two major groups: life-size three quarter length portraits of individuals and small scale family groups. 

 

 

 

 

Alexis Simon Belle (1674-1734)

Alexis SImon Belle (1674-1734)

Mildmay Fane, Inscribed:  My fifth Son of / Vere E. of Westmoreland

Oil on Canvas, 126 x 100cm / 148 x 123cm, Baroque Style Original Frame, 

Provenance: By family descent at Apethorpe Hall, Wansford, until sold in the Apethorpe sale, Christie's 2nd June 1892, lot 92. 

An important portrait of one of England's well known families. The Hon. Mildmay Fane, 5th son of the Earl of Westmoreland resided in one of the most influential Fane residences: Mereworth Castle, Kent. Mildmay was elected Member of Parliament to Mereworth at a very young age. Both he and his brother the Hon. John Fane 4th son of the Earl of Westmoreland, were Jacobites and strong supporters of Bonnie Prince Charlie, often speaking on his behalf in Parliament. Mildmay Fane died at a very young age in 1715. His brother took over the Mereworth seat and went on to host the last Jacobite Council at Mereworth Castle. The meeting was the last stop for Bonnie Prince Charlie before he led his army to fight for his claim to the throne. 

A prolific and successful artist, Alexis Belle was primarily known for his portraits of French and Jacobite nobility. He studied under French painter Francois de Troy, court painter to James II. Following the death of James II, Belle became the principal painter to the Jacobite court and painted numerous portraits of James Edward Stuart and his sister The Princess Royal. Belle's most famous portrait of James Edward Stuart was painted in 1712 and shows him in military regalia just before he leaves Saint Germain for Lorraine.

During the 1720's Belle received numerous commissions from the French nobility. He painted King Louis XV and a portrait of the King with his one-time fiancee Mariana Victoria of Spain. 

This painting is for sale please contact us

Cornelis Jonson van Ceulen (1593-1661)

Sir Thomas Lawrence PRA (1769-1830)

Sir Thomas Lawrence (1769-1830)

Portrait of Lady Charles Bentinck 1816 

Oil on Canvas, 88.9 x 68cm

Sold to Private Collector, UK 

An important portrait of Lady Charles Cavendish Bentinck was the illegitimate daughter of the 1st Marquis of Wellesley. She first married Sir William Adby, 7th Bt. in 1806. However, after a much publicised and scandalous elopement with Lord Charles, she divorced Adby and in 1816 became the second wife of Lord Charles Bentinck, younger son of former Prime Minister William Cavendish-Bentinck, 3rd Duke of Portland. Considerable social unease and notoriety would follow the event, such was the rare and exceptional nature of divorce, granted by Parliamnet, in the regency period. 

Richard Wellesley (held Eton College) and Gerald Wellesley (Private Collection), the brothers of Lady Charles Cavendish Bentinck were also painted by Lawrence. This portrait has been confirmed to be an autograph work by Sir Thomas Lawrence by an artist's receipt taht confirms this attribution.

Provenance: Private Collection, USA. 

 Literature & References:

Historical Portrait's Archive, Sir Thomas Lawrence PRA. Portrait of Lady Charles Cavendish Bentinck (d. 1878) 1825c. 

'My Lady Scandalous' by Jo Manning, Simon & Schuster, NY 2005, ill. p. 325

 

 

John Lewis (Fl. 1737-1765)

John Lewis (Fl. 1737 - 1765) 

Oil on Canvas, 100 x 127cm / 127 x 178cm

John Lewis was a portrait painter, active in the mid 18th Century, both in England and thereafter in Dublin, Ireland. He was highly regarded during the period and noted for his considerable technical ability. He possessed a flair for capturing the elegance, colour and extravagance of his subjects in dramatic architectural settings. 

Upon his move to Dublin, his growing reputation enabled him to focus solely on portraiture. This work demonstrates his skill at rendering architectural forms and effortlessly convincing drapery - perhaps unsurprising, given his experience as a scene painter at the Dublin Playhouse. Portraying the sitter with a dignified confidence and grandeur, illustrates the influence of Lewis's contemporary Thomas Hudson. Lewis's affinity with the theatre resulted in perhaps his most famous works, the portraits of actress Margaret 'Peg' Woffington and playwright, Thomas Sheridan. 

Both the National Portrait Gallery, London and the National Gallery, Dublin hold examples of his work, also represented in a number of prestigious international private collections. 

Please contact us

Henrietta Rae (1859-1928)

Henrietta Rae (1859-1928) 

Lady Winifred Renshaw and her eldest child Thomas Renshaw 

Oil on Canvas, Signed and Dated 1903

Provenance: Estate of Captain Thomas A Renshaw and Mrs Anne Renshaw

Exhibited: Royal Academy 1903, No 193, Illustrated: Royal Academy Pictures, 1903, p. 37.

Lady Winifred Edith Renshaw was born Lady Winifred Edith Clements in 1875, th eldest daughter of Robert Bermingham Clements, 4th Earl of Leitrim and Lady Winifred Coke. 

Sold to Private Collector, UK 

Ferdinand Roybet (1840-1920)

Ferdinand Roybet (1840-1920)

A Cavalier

Oil on Board 79 x 63cm

An artist of international standing in his own lifetime, Roybet excelled in the representation of musketeers and people of the Court from the eighteenth century. His technical virtusoity and skill in the rendering of silks and rich garments relate him to Rubens and the Flemish school.  Roybet was renowned amongst the French and American bourgeoisie, among his most famous portraits are: Comte Potocki, Jules Lefebvre, Cormon and Madame Olympe Heriot (1891). Such important works as Propos gallants 1893, La Main Chaude 1894, La Saraband 1895, L'Astronome, Les Savants 1901 and Le Refus des impots 1909, were all successfully exhibited at Salon. 

Well represented in many National and International collections, in particular the Musee Roybet Fould, Coubevoie, France houses a large selection of his works. 

This framed painting is for sale. Please contact us 

Francis Bacon (1909-1992)

Francis Bacon (1909-1992)

George Dyer Accroupi

1996 November, DLM No 62, Deluxe Edition of 150, signed Francis Bacon

37 x 27cm / 63 x 53cm 

SOLD

Francis Bacon, one of Britain's most famous and infamous artists of the 20th Century, prolific and renowned for his engaging, charismatic and perhaps volatile character. He was extremely articulate and well read, and today his work is collected and sought after. 

This image showing his lover George Dyer crouching, is important, bearing in mind the tragic death of Dyer, Bacon's lover, in 1971. As from this point on Bacon and his art became darker,  more introspective and preoccupied with the passage of time and death. 

 

 

Richard Barrett Davis (1782-1854)

Richard Barrett Davis (1782-1854)

Sir Roger De Coverly and his Hounds 1843

Signed, Oil on Canvas, 90 x 116cm

Richard Barrett Davis was an important Victorian Horse painter and landscape artist, born in Watford in 1782. In 1789 his father became a huntsman to George III's private harriers and it was through him that Davis' sketches caught the attention of George III who in turn persuaded Sir Francis Bourgeois (1756-1807) to tutor the young Barrett Davis. 

He studied at the Royal Academy Schools where he first exhibited in 1802. He joined the Society of British Artists in 1829 and was appointed animal painter to William IV in 1831. 

From 1802 Davis exhibited annually at the Royal Academy for the next fifty years and from 1808 he exhibited at the British Institution and also at the Society of British Arts in 1831. The subject of this painting was also the name of a loveable if slightly ridiculous English Squire character from the Spectator (1711) who represented the values of an old country gentleman, making typical Tory politics of such a person harmless but silly. It is also the name of an English country dance. 

Frederick Yeates Hurlestone (1800-1869)

Frederick Yeates Hurlestone ( 1800-1869) 

Regency Sisters

Oil on Canvas, 124 x 99cm / 153 x 126cm Original Frame

POA

Beginning his working life in the office's of his father's journal 'The Morning Chronicle' Hurlestone, very young, went to study under Sir William Beechey and later under Sir Thomas Lawrence. Two of England's greatest painters. He entered the Royal Academy Schools in 1820 and won a gold medal in 1823. He exhibited 37 works between 1821-1845 as well as works at the British Institute and at the Society of British Artists of which he was President from 1835-69. He painted portraits and historical subject matter and following visits to both Italy and Spain he painted Italian and Spanish genre scenes. His work is well collected and represented in museum and private collections.  

William Barraud (1810-1850)

William Barraud (1810-1850)

Richard Crawshay talking to his Gamekeeper in the Grounds of Ottershaw Park, Chertsey  

Signed and dated 1838

Oil on Canvas 

105 x 134.5cm / 127 x 154 cm Framed 

POA

Provenance:

Arthur Ackermann & Son Ltd, London, 1934;John Marquess of Bute (1881 - 1947), by family descent until 1999;Richard Green, London;Private Collection since 2000 Exhibited:London, Royal Academy, 1838, no. 461 (Scene in Ottershaw Park, Surrey, with Portraits).Richard Crayshaw (1786-1859) was the eldest son of the famous ironmaster William Crawshay (1764-1834) of Cyfarthfa Castle, Glamorgan and Stoke Newington, Middlesex, and his wife Eliza Couzens (d. 1825). The Crayshaw family owned the great ironworks at Merthyr Tydfil in south Wles, which had been founded by Richard Crayshaw's grandfather, also called Richard. Richard's younger brother William (1788- 1867), who lived at Caversham Park near Reading, became sole proprietor of the Cyfarthfa works upon the death of their grandfather in 1810.

A decisive and brilliant man, William hugely expanded the family business as the expansion of the railways led to increased demand for iron. Richard Crawshaw shared in this prosperity although he seems to have preferred the life of a country gentleman to that of an ironmaster. His Gentleman's Magazine obituary stated that he 'derived from his father a large share in the great ironworks at Cyfarthfa, Merthyr Tydfil, but of late years had retired on a very ample fortune' (July 1859).

Crawshay married Mary, daughter of Francis Homfrey of Hyde, Staffordshire, with whom he had four sons and eight daughters. He lived at Rowfant, Sussex and then leased Honnington hall, Norfolk, from Lord Bayning. Barraud's painting shows him in the grounds of Ottershaw Park, Chertsey, Surrey, which he leased and finally acquired in 1842. Ottershaw was built for Sir Thomas Sewell soon after 1761 by Sir Robert Taylor.

Artist biography:

William Barraud (1810 – 1 Oct 1850) was an English animal painter and illustrator, the brother of Henry Barraud, with whom he collaborated on many works.William was born in Lambeth in London, one of 17 children of William Francis Barraud (1783–1833), a clerk in the Custom House, and Sophia (née) Hull. His paternal grandfather was Paul Philip Barraud, an eminent chronometer maker in Cornhill, and his maternal grandfather, Thomas Hull, a miniature painter. The family was of French Huguenot origin that had come over to England at the time of the revocation of the Edict of Nantes. His younger brother Henry Barraud was also a notable artist, and another, Edward, though talented in art did not take it up as a profession.

On leaving school he is said to have become a clerk in the Custom House where his father worked (although there are no records of this), but eventually became a pupil of artist Abraham Cooper. As an animal artist he specialised in painting horses and dogs, exhibiting at the Royal Academy from 1829–50, the British Institution from 1828–49, the Society of British Artists and at other venues. His work was popular with huntsman and dog-fanciers. He also produced some historical and landscape paintings.

William shared a studio, from 1835 until his untimely death, with his brother Henry, and collaborated on many subject pictures with himself painting the animals and Henry the figures. Several of these joint works were exhibited at the Royal Academy. The brothers also produced a book together entitled "Sketches of Figures and Animals" (H. Graves and Co. c. 1850). William also collaborated on another book with fellow artist Thomas Fairland (1804–52) called "The book of animals drawn from nature" (C. Tilt, 1846).

In 1841 William married Mary Ratliff and they had a son Clement William (1843–1926), who went on to become a stained-glass designer (for Lavers, Barraud and Westlake), a Jesuit priest, poet and playwright. Mary died soon after the birth and in 1850 William married Margaret Harrison.William died in Kensington, London from dysentery and typhoid fever on 1 October 1850, in his fortieth year.