Posts filed under female portrait

Mary Beale (1633-1699)

Portrait of Margaret Wharton 

Mary Beale (1633-1699)

Oil on Canvas 126 x 103cm

Sold to Private Collector, UK 


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). 


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. 

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



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 

Frederick Yeates Hurlestone (1800-1869)

Frederick Yeates Hurlestone ( 1800-1869) 

Regency Sisters

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


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.  

Pietro Fachetti (Mantua c.1535- Rome 1619)

Pietro Fachetti (Mantua c. 1535-Rome 1619)

Portrait of Eleonora Orsini Sforza, c 1605-1610

Oil on Canvas, 112 x 85cm, 134 x 107cm, in a Cassetta style frame.  

A notable work of art of a member of the prominent Medici dynasty. This painting has been attributed to Pietro Fachetti after academic research and, comparisons with portraits of Eleonora Orsini Sforza, confirm her as the sitter along with the inscription in the upper left corner that reads: 'Eleonora Orsini Sforza, Duchess of Segni and Countess of Santa Fiora ('D(onn)a Leonora Orsina Isforzza'). 

It is known that her personal life was somewhat turbulent, her mother being supposedly murdered by her father, and upon her marriage was forced to escape the jealousy and violence of her own husband on several occasions until seeking refuge in the Orsini Castle at Bracciano with an army of 100 men until papal approval to divorce her husband was obtained in 1621. Despite this volatile family history Eleonora cultivated her interest and skills in the arts, both as an artist and a collector, a composer and musician, she was admired for her elegance and as a protagonist of the Roman cultural panorama until her death in 1634. 

Stylistically this painting shows the influence of the acclaimed portraitist Scipione Pulzone, who had died in 1598, as well as the work of Ottavio Leoni. These considerations, the taste for details, particularly evident in the description of Eleonora's dress and laces, and the realism of her portrait points to the attribution to the painter Pietro Fachetti. 

Fachetti entered the service of the Gonzaga family, was sent to Rome to improve his skills and update his style in 1575, and he then entered the service of Paolo Giordano I Orsini, Eleonora's father. His reputation was established as evidenced  by a commission of a portrait of Sixtus V with the Architect Domenico Fontana, an official portrait of the pope to be displayed in the newly built Biblioteca Vaticana. In the span of a few years Fachetti distinguished himself as a skilled portraitist of the Roman aristocracy. Despite the appreciation of his contemporaries Fachetti's production is now little known. Only a few of his paintings are signed and thus constitute a solid starting point to reconstruct his production, while the attribution to him of some portraits is still controversial. Also a fact noted is that Fachetti, according to Dr Barbara Furlotti, in her academic research on this painting, (09/15) states that to the best of her knowledge, Fachetti is the only artist who is recorded in documents to have portrayed Eleonora Orsini in painting.  





Follower of Charles Joshua Chaplin (1825-1891)

Follower of Charles Joshua Chaplin (1825-1891)

Girl Blowing Bubbles

Oil on Canvas, 96.5 x 77cm / 120 x 100cm


A beautifully delicate version of Chaplin's well known painting 'Blowing Bubbles'.  Chaplin was very successful in his own lifetime and well known for this type of subject matter. This painting does the original complete justice and while the artist is not named it is painted with obvious skill and insight. 


Ellis William Roberts (1860-1930)

Ellis William Roberts (1860-1930)

Portrait of an Elegant Lady wearing a white satin dress and green wrap, possibly a member of the Bonham Carter family. 

Pastel, Signed and Dated 1890, 88 x 48 " / 100 x 601/2 ",  From a Private Collection 

Sold to a Private Collector, UK 

Ellis William Roberts was born in Burslem, Staffordshire, the second son of Thomas Roberts, a pottery manager. Ellis William Roberts studied at the Wedgwood Institute, Burselem, Minton Memorial Art School, the Royal College of Art from 1882 to 1883 and Academie Julian, Paris from 1887 - 1888 under Bouguerreau and Robert Fleury. It is recorded that he travelled to Italy. Roberts was elected a member of the Royal Society of Portrait Painters in 1893. He worked in pastel and oil and specialised in portraits of London Society women, often large full length in the French academic manner. His Sitters included Lady Cunard; Rt Hon. Arthur Balfour, Countess of Chesterfield, 3rd Earl of Morley; Lady Londonderry; Countess of Powis, Lady Leaconfield and many others. Roberts exhibited sixteen portraits at the Royal Academy from 1886 to 1902, from a London address, 6 William Street, Lowndes Square, London. 

He died in Brighton at the Queen's Hotel on 24th September 1930. 

Works Represented: Badminton; Arundel; Bowhill, Beningborough Hall, North Yorkshire, Bisham Abbey, Buckinghamshire; Devon County Council, Exeter; Mount Stewart House, Co Down; Petworth House, West Sussex; Powis Castle; Potteries Museum & Art Gallery Stoke -on -Trent. 

Literature: Portrait Painters - Brian Stewart & Mervyn Cutten

please contact us