Posts filed under Country: British

John Arthur Lomax (1857-1923)

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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. 

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

 

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.

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

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.  

 

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. 

 

William Banks Fortescue (1850-1924)

William Banks Fortescue (1850-1924)

Sold to  private Collector UK 

Oil on Canvas 

Like several of his fellow Newlyners, William Banks Fortescue hailed from Birmingham. Although he is very much recognised as a Newlyn School painter, he spent the majority of his painting career living and working in the rival art colony some seven miles away at St Ives. 

 

 

 

 

Alberto Morrocco (1917-1998)

Alberto Morocco (1917-1998)

Merendero at Nerja 'Open-air Cafe' in Nerja 1977

Signed and dated, Oil on Canvas, 40 x 30cm

Alberto Morrocco was born in Aberdeen, the son of immigrant Italians. He is famous for his Scottish landscapes and his precocious talent as a draughtsman. Heavily influenced by Picasso and Braques, prodigiously productive, Morocco spent the majority of his career as Head of Painting at Duncan of Jordanstone College of Art, Dundee. Without doubt the greatest portraitist of his generation, well known for his portrait of The Queen Mother as Chancellor of The University of Dundee. Awarded the San Vita Romano Prize and the Guthrie and Carnegie Awards of the Royal Scottish Academy, he served on sth Scottish Arts Council and the Royal Fine Art Commission for Scotland, he was awarded an OBE in 1993 and elected an Honorary Fellow of the Society in 1995. 

His works are sought after and well collected, well represented in museums and private collections and his work is known particularly for its other worldliness and skill of execution. 

William Mulready (1786-1863)

William Mulready (1786-1863)

Crossing the Ford

Oil on Canvas 28 x 23cm / 17 x 13cm

This beautiful oil sketch was done by Mulready in preparation for work his well known painting 'The Ford', painted at the height of his artistic career and hanging in the Tate, London, and which was exhibited to critical acclaim at the Royal Academy in 1842. A writer in the Art Union observed: ‘(The Ford) sustains the high reputation of its author; it is a work of surpassing beauty, grace and excellence – one of the most valuable paintings ever produced in England’ (Art Union, 1842, p.121).

'The painting is a closely-observed rural scene. A young girl is carried across a stream by two youths; their traveling companions wait in the shadows on foot and horseback and prepare to cross behind them. The background landscape is hilly and rocky, opening up to a distant blue horizon. As with Mulready’s other narrative works of the period, this rural idyll is imbued with symbolic meaning. The lyrical intensity of the scene and the close psychological connection between the three central figures echoes the theme of courtship Mulready explored in 1839 inThe Sonnet and First Love (both Victoria and Albert Museum, London). The theme of crossing water illustrating a rite of passage to adulthood was a familiar one, used by J.M.W. Turner (1775–1851) and other nineteenth-century artists and writers. Pointon (p.166) notes the painting’s implicit eroticism, acceptable to the Victorian spectator by virtue of its rural, Arcadian setting. A critic writing in 1852 remarked that the painting was: ‘composed into a charming bit of rusticity, treated with much purity of taste and feeling. The subject is one that might very easily have been vulgarised, though it was perfectly safe on that score in the hands of Mr. Mulready.’ (Art Journal, May 1852, p.158.) ' The Tate Gallery. 

Mulready gained a reputation for his innovative use of colour combining ‘the greatest quantity of light consistent with the greatest quantity of colour’ (quoted in Heleniak, p.136).  Mulready’s approach to colour was undoubtedly influenced by seeing works by the Venetian painters Titian (c.1485–1576) and Tintoretto (1518–94) at the British Institution ‘Old Masters’ exhibition of 1815. 

‘The works completed by him between 1839 and 1848 are the most perfect in story, colour and execution of any of his productions. The chiaroscuro is excellent, the colour rich and jewel-like, the execution refined and perfect of its kind.’ (Richard and Samuel Redgrave, A Century of Painters of the English School, London 1866, p.298.) 

Crossing the Ford was bought by Mulready’s patron Robert Vernon in 1842 for 600 guineas, in three installments, and was given by him to the nation in 1847. There is a related pen and ink drawing in the Henry E. Huntington Art Gallery, San Marino, Italy; a chalk cartoon for the work (now in a private collection) was exhibited at the Royal Academy, London in 1847. On the back of the panel is a sketch for another work on a similar theme by Mulready, The First Voyage 1833 (Bury Art Gallery), which shows a child in a tub being pushed and towed across a stream. 

Arthur A Davis (Fl 1877-1905)

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

'Uncertain' 

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

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. 

Victorian Walnut & Yew Wood Tea Caddy with Ivory Keyhole

Victorian Walnut & Yew Wood Tea Caddie with Ivory Keyhole

H 15cm W 31cm D 16cm

SOLD

 

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.

 

Late George IV, William IV Mahogany Sideboard, 1820-1840

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A Late George IV, early William IV Regency chiffonier / sideboard, 

Circa 1820- 1840

H 177cm Depth 41cm 

 

 A fine quality mahogany dining room sideboard / chiffonier, mirror backed galleried shelving, above shelves and two grill doored corner cupboards on either side. Also a side door for storing the leaves of a dining table originally and ideal for storing trays. 

George III Mahogany Sideboard

George III Mahogany sideboard 

Circa. 1780-1800

H 93cm W 167cm D 65cm

 

A beautiful sideboard in excellent condition and colour. With three central lockable drawers flanked on each end by a deep celleret, the top level with a large central sliding tambour fronted and smaller sliding doors on either side of it.