home     about us    latest stock    view all     delivery     testimonials     contact us
Search our website:
Select a category:  
Select a currency:
Website last updated:
19 August 2019
ITEMS RECENTLY ADDED


[ click a photo to enlarge ]
19thc Pastel Portrait Painting Of Viscount Castlerosse (7th Earl Of Kenmare 1896-1952) By Artist Leon Sprinck (1862-1946)
We are offering this lovely c1902 Pastel Portrait on canvas by the artist Leon John Sprinck 1862-1948.
The painting is a half length portrait, in its original oval frame, of a young boy, namely Gerald Ralph Desmond Browne, Viscount Castlerosse, later 7th Earl of Kenmare.
He is wearing a quality coat with white handkerchief, large buttons and white frill at the neck and the painting is presented in an oval frame, although a ribbon surmount on top of the frame has since been lost, probably due to past damage,this having been carefully epaired where the surmount would have been attached.
-
ABOUT THE SITTER
Gerald Ralph Desmond Browne, 1896-1952, was born on 20th December 1896, the youngest son of Valentine Charles Browne, 5th Earl of Kenmare and Hon. Elizabeth Baring.
-
He was educated at the Oratory School, South Kensington, Downside School, Bath and the Royal Military College Sandhurst.
He became a Major in 1st Dragoon Regiment and served in WW1 1916-1918. He was ADC to the Leiutenant-General & Governor General of Ireland in 1921.
He received an OBE in 1922. He became the 7th Earl upon the death of his brother in 1943, who had inherited it from his father in 1941.
He had never married and died on 14th Feb 1952 at which time his titles became extinct.
-
The painting is under its original glass and in its original 3" gilt frame, supplied ready to hang.
The stretcher bears the stamp of Lechertier Barbe Limited, Jermyn Street, Late of Regent Street.
The painting has a backing board which will be replaced, but is shown without this to show the canvas on the stretcher.
-
ABOUT THE ARTIST:
Leon John Sprinck (1862-1948), was a Russian artist, born in France, who later became a naturalised British subject.
We know that he was in the UK in 1898, at 9 Duke Street, Portland Place, London W.1, as that was the year that he married in Hampstead, Emily Margaret Macdonald (13/3/1866 - 1/2/1949) of 45 Netherhall Gardens, Hampstead.
In 1916, he is listed in Kelly's Directory as an artist at 8 Boltons Studios, Redcliffe Road, Sth.Kensington.
They had three children, two sons and a daughter.
We found online a lengthy biography on his eldest son, who was a very talented organist and music teacher, which states the following:-
-
'His father, Leon Sprinck, was a distinguished portrait painter from the court of the Czar of Russia who fled to London before the revolution of 1917. Donald's mother was a MacDonald from the Isle of Skye.
She was also a professional artist who specialised in miniature portraiture, examples of which Donald and his sister (Margaret Wilhelmina Woosnam nee Sprinck born 4/10/1902) still displayed in their Eastbourne homes.'
It is certainly true that Leon Sprinck was a distinguished portrait painter, as he painted many notable sitters, for example, Lady Dundas - twice, Viscount Castlerosse, Christian Beauvoir de Lisle etc. but he was in the UK from 1898, although we cannot find him in the Census of 1901, as his wife was staying with her parents with Donald on that day.
He was in the UK in 1911, the next Census year, and they were living at 19 Friern Park, North Finchley. In the 1939 Register, which has just been released, Emily was living with their daughter Margaret Woosnam, her husband, and their youngest son Hugh Leon Sprinck (born 16/9/1904) at 4 Hilltop Court, Grange Road, Croydon.
Leon doesn't appear is this Register for some reason, but he died in Croydon in 1948 at the age of 86. Margaret died the following year.
-
CONDITION:
Very good / frame is in good order with usual minor cracking due to age. There is evidence of old repair to the top edge of the frame (not visible when hung) presumably where a surount was removed, filled and regilded.
-
MEASUREMENTS: Frame size: 29 1/2" x 25 1/2" - 74.9cm x 64.7
-
DELIVERY
UK Courier ( 7-10 Days ) By Hand Add £80
International
Ref: 0719
Price: £1,250
Buy Now with PayPal





[ click a photo to enlarge ]
18thc Portrait Of French Naval Officer Wearing Order Of St.Louis
A wonderfully painted and colourful 18thc French school portrait of a gentleman officer of high rank depicted in his formal military attire,with his hands resting confidently on the handle of his sword.
-
He wears an officers white long coat with matching lapels, his sleeves decorated with multiple brass buttons and gold braided epaulettes dress his shoulders.Below his chin he wears a gold silk cravat held in situ by two small blue velvet bows tied either side and finished with a silver decorative broach.His shirt is a blue silk under garment of quality.
He confidently wears his black bicorne hat decorated with silver braided cockade and finished with a crimped flower on the side.
He proudly wears with distinction the Military Order of St.Louis which is suspended from a crimson red heart fastened with honour to his chest.
-
The officers hands are extremely well defined and his appearance is of nobility, his grey powdered hair held in perfect curls and with a gold ear ring pierced through the lobe of his ear.
-
The portrait has been signed with initials S.R below a crown in the top left corner of the canvas.
-
MILITARY ORDER OF ST.LOUIS
The Royal and Military Order of Saint Louis (French: Ordre Royal et Militaire de Saint-Louis) is a dynastic order of chivalry founded 5 April 1693 by King Louis XIV , named after Saint Louis (King Louis IX of France). It was intended as a reward for exceptional officers, notable as the first decoration that could be granted to non-nobles. By the authorities of the French Republic, it is considered a predecessor of the Legion of Honour, with which it shares the red ribbon (though the Legion of Honour is awarded to military personnel and civilians alike).
-
Although officially abolished by the government authorities of the July Revolution in 1830 following the French Revolution, its activities carried on as a dynastic order of the formerly sovereign royal family. As such, it is still recognised by the International Commission on Orders of Chivalry
-
Framed Size: Height 43 Inches ( 110cm ) / Width 38 Inches ( 97cm ) / Depth 2.75 Inches ( 7cm )
-
Frame : Very decorative refurbished plaster and wood frame.
-
Delivery
UK Courier ( 7-10 Days ) By Hand Add £80
International Shipping Quotes On Request
-
Tel Enquiries 07765 856171
-
Quote Our Ref 0713
Ref: 0713
Price: £6,750
Buy Now with PayPal





[ click a photo to enlarge ]
Swedish Lady Attrib.To Ulrika Fredrica Pasch (1735 - 1796) 18thc Oil Portrait Paintings On Canvas
I am delighted to offer for sale a quality three quarter length oil portrait on canvas of an Aristocratic Lady in all her finery.
-
ABOUT THE ARTIST
The artist, Ulrika "Ulla" Fredrica Pasch, was a Swedish rococo painter and miniaturist, and a member of the Royal Swedish Academy of Arts and was the most famous and successful female artist in Sweden
-
This beautifully rendered and impressive large scale portrait from the mid 18th Century circa 1750 depicts the lady in a garden setting.
-
This elegant young lady of aristocratic appearance is portrayed wearing a fine blue silk boddice embellished with satin and with a plethora of colourful flowers gathered within the fullness of her dress.
-
The pallete of blue, white and pink, favoured by the late baroque painters, create the perfect harmony of colour.
-
This is an attractive image having soft modelling of forms and depicts a gentle oval of the face with slightly rosy cheeks and is the epidemy of the Rococo portrait.
-
FRAMED MEASUREMENTS
Height 43.25 Inches (110 cm)
Width 35 Inches (89 cm)
Depth 2.5 Inches (6.5 cm)
-
DELIVERY
UK Courier ( 7-10 Days ) By Hand Add £80
International Shipping Quotes On Request
-
TELEPHONE ENQUIRIES: 07765 856171
-
Quote Our Ref : 0793
Ref: 0793
Price: £5,950
Buy Now with PayPal





[ click a photo to enlarge ]
David Garrick & Eva Maria Circle Of Sir Joshua Reynolds 18thc Oil Portrait Painting The Conversation Piece
David Garrick and Eva Maria Garrick (née Veigel), richly dressed, and conversing in wooded landscape. The painting follows the fashionable convention of the conversation piece, a (usually) small-scale portrait showing two or more people, often out of doors,with the smaller versions being about the same size as a half-length portrait but in horizontal or "landscape" format.
-
Having had their origins in the 17th century Netherlands, they were also very fashionable in Britain in the 18th century.
They are distinguished by their portrayal of the group apparently engaged in genteel conversation or some activity, very often outdoors.
Typically the group will be members of a family, but friends may be included, and some groups are of friends, members of a society or hunt, or some other grouping.
-
Other notable artist working in this genre were Arthur Devis, William Hogarth, Johann Zoffany, and George Stubbs. The original is in the National Gallery London.
See last image
-
Garrick made his first appearance on the London stage in 1741. His distinguishing characteristic was what Samuel Johnson called his 'universality'. A close friend of Reynolds, he was painted by the artist on several occasions, notably as The Actor torn between Tragedy and Comedy, in 1762. In this portrait by the artist, David and Eva Garrick, the Viennese dancer whom he married in 1749, are depicted in the garden of their country house at Hampton in Middlesex.
-
Very finely depicted figures and attire. The facial features of the lady (lips, cheeks, nose) are remarkable. The impasto technique with the thickly applied paint is very effective and very beautiful.
Held in an excellent condition swept frame.
-
This exceptionally rare and fine example of one of Reynolds well known works is probably the only other in existence after the original bought by The National Gallery London in 1981.
-
We must say that in our opinion our recently acquired version could possibly be another work from Reynolds studio and possibly an earlier forerunner to his larger painting of Garrick.
The portrait we offer is technically not strictly a copy as the artist has painted Garricks Coat with just four upholstered large buttons,whereas the larger version in the National Gallery depicts Garrick with five buttons.
Surely the best copyists would not make such a basic mistake had they been carefully producing an accurate copy.This fact suggests that two versions were produced around the same time 1772 and that the smaller painting we offer for sale may in fact be an earlier sample of the work.
We only suggest this as a sensible analysis but do say our painting is definitely of the correct period around 1772 (late18thc) and that it has been produced by either Reynolds studio under his influence within his Circle or possibly by his studio assistant of many years Giuseppe Marchi.
The smaller version once scaled up would infact look visually incorrect to only have four buttons as the spacing of each button would have increased substantially and would continue to do so if enlarged even further.There are unlikely to be any other quality copies available to purchase,making our fine example a unique opportunity to buy a one off reduced version of one of Reynolds best known works
-
MEASUREMENTS: Height 83cm, Width 103cm framed (Height 32.5”, Width 40.5” framed)
-
CONDITION: Very Good Order Throughout / Relined Canvas and Excellent Swept Frame
-
DELIVERY
UK Courier ( 7-10 Days ) By Hand Add £80
International Shipping Quotes On Request
-
* Interesting Article Link ( Copy & Paste ) About copies achieving record prices at auction.
-
http://www.telegraph.co.uk/culture/art/artsales/9251700/Old-Master-copies-are-surprise-winners-at-auction.html
-
TEL: 07765 856171
-
REF 0709
Ref: 0709
Price: £11,850
Buy Now with PayPal





[ click a photo to enlarge ]
Jan Van Huysum (1682-1749) Workshop Of Arnold Boonen (1669-1729) Fine 18thc Oil Portrait Painting
ABOUT THE SITTER ( Identified As:)
Jan van Huysum also spelled Huijsum (15 April 1682 – 8 February 1749), was himself a painter of Dutch origin.
( Last Image 6 Shows Sitter In Later Years Of Age )
-
He was the brother of Jacob van Huysum, the son of the flower painter Justus van Huysum, and the grandson of Jan van Huysum I, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Jan van Huysum's daughter, Francina Margaretha van Huysum, was also a flower painter and may have assisted her father in his work.
-
Half of his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains.
-
Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736–1737). No public museum has finer and more numerous specimens than the Louvre
-
ANALYSIS OF PORTRAIT (Est.c1720)
A good quality bust length portrait of Jan Van Huysum 1682-1749 depicted in a brown coat, white neckerchief, and red mantle. He wears a voluptuous blonde wig with a long club-tied lovelock to the side. The painting is comparable with works by the Dutch prolific painter Arnold Boonen on the ground of the handling, pose, and costume. It dates to about 1720 and appears to be by an artist from his circle most notably Philip van Dijk (1683-1753) who was his pupil. Van Dijk went on to become official painter to the court of Landgrave William VIII of Hesse and then to Prince of Orange William IV.
-
ABOUT THE ARTIST ( Workshop Of Arnold Boonen )
Philip van Dijk 1683-1753 was a Pupil of Arnold Boonen in Amsterdam, and also became a student of Adriaen van der Werff in Rotterdam, where he married in 1708.
-
Later the same year, he became a member of the Guild of St. Luke in Middelburg. In 1718 he became a member of the Confrerie Pictura, where he became a popular painter. Much later he returned to teach at the drawing academy and had various students
-
MANNER OF Arnold Boonen (1669–1729), the well-regarded portraitist born in Dordrecht and active in Amsterdam from 1696. He was a pupil first of Arnold Verbuis, and then of Godefried Schalken.
Boonen painted genre pictures in the style of the latter, representing subjects by candlelight, but met with such encouragement in portrait painting that he devoted himself almost wholly to that branch of art. His style was well adapted to succeed in it. An excellent colourist, a faithful designer of his model, and highly skilled, he was soon distinguished as one of the ablest artists of his day.
-
Boonen painted some of the greatest members of society such as the Elector of Brandenburg, later King Frederick I of Prussia, the Duke of Marlborough, the Russian Tsar Peter the Great, and Prince William IV of Orange-Nassau.
-
FRAMED MEASUREMENTS
Height 35.5 Inches ( 90 cm )
Width 29.5 Inches ( 75 cm )
Depth 1.75 Inches ( 4.5 cm )
-
CONDITION
Good Order Throughout & Ready To Hang.
-
DELIVERY
UK Courier ( 7-10 Days ) By Hand Add £80
Ref: 0818
Price: £5,850
Buy Now with PayPal





[ click a photo to enlarge ]
Oil Portrait Cornelis Van Der Geest 1577-1638 (antwerp Belgium ) After Anthony Van Dyck
After ANTHONY VAN DYCK (1599-1641)
-
Portrait Cornelis van der Geest 1577-1638 (Antwerp Belgium )
-
This fine portrait of Cornelis van der Geest has been skilfully mastered in oils by a very competent hand reproducing the master painting on an off white linen material similar to canvas but lighter in weight and after the original by Van Dyck, being executed in the late 19th Century and is set within a rosewood veneered c1870 frame with later antique style slip.
-
ABOUT THE ARTIST
Sir Anthony van Dyck (Dutch born 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders.
-
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp.
He was baptised on 23 March 1599 (as Anthonio).
-
His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger.By the age of fifteen he was already a highly accomplished artist, as his Self-portrait, 1613–14, shows.He was admitted to the Antwerp painters' Guild of Saint Luke as a free master by February 1618.Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop. His influence on the young artist was immense Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".
-
He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years.
-
He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him.
-
ABOUT THE SITTER
Cornelis van der Geest (1575 – 10 March 1638) was a spice merchant from Antwerp, who used his wealth to support the Antwerp artists and to establish his art collection. He was also the dean of the haberdashers guild.
-
Cornelis Van Der Geest is best known today for his art collection.
He was portrayed repeatedly by Anthony van Dyck, while Willem van Haecht, who he had hired as curator, painted his "constcammer" several times, including a view of the visit of Albert VII, Archduke of Austria and Isabella Clara Eugenia to his art collection.
-
He owned two paintings by Quentin Matsys, one of which, a Madonna, can be seen in the Van Haecht painting. Other works included in that view are Women at her toilet by Jan van Eyck, a still life by Frans Snyders, Ceres Mocked by Adam Elsheimer, Danaë by Van Haecht, Battle of the Amazons and a portrait by Peter Paul Rubens, Peasant Company with Woman making Pancakes by Pieter Aertsen, Apelles by Jan Wierix and a hunting scene by Jan Wildens. The painting also shows some of Van der Geest's sculptures, with copies of the Venus de' Medici, the Farnese Hercules, and the Apollo Belvedere.
-
MEASUREMENTS ( Including Frame )
Height 22.5 Inches ( 57 cm )
Width 19 Inches ( 48 cm )
Depth 2.5 Inches ( 6 cm )
-
CONDITION
Very Good Order / Rosewood Veneered Frame Slightly Distressed
-
GALLERY LABEL VERSO Alexander's Bristol
-
DELIVERY
UK Mainland P& P Next Day Recorded + £25 At Cost
WORLDWIDE Supply Extra ( Please Request A Quote )
-
TELEPHONE ENQUIRIES : 07765 856171
-
OUOTE OUR REFERENCE : 0755
-
JUST REDUCED
Ref: 0755
Price: £2,250
Buy Now with PayPal





[ click a photo to enlarge ]
17thc Baby Portrait Studio Of Mary Beale (1633-1699) English School Oil Portrait Paintings
Fine Rare Late 17thc Oil Portrait of a Baby holding a coral teether.
-
ABOUT THE ARTIST ( Studio of Mary Beale )
-
Mary Beale (née Cradock; late March 1633 – 8 October 1699) was one of the most successful professional female Baroque-era portrait painters of the late 17th century due to her perseverance of her business.
Praised by Richard Gibson and court painter Peter Lely, she is considered as successful as Joan Carlile.
-
Joan Carlile was also an English portrait painter, who was one of the first women to practise painting professionally. Mary Beale managed to be the financial provider for her family through her professional portrait business.
-
Mary Beale stood apart from other women due to her outspokenness and successful business that allowed her to be the breadwinner of the family.
-
Portraits of babies from the 17th & 18th centuries are quite rare, and obviously desirable for their charm and appeal.
-
This delightful portrait of a round-cheeked, blue-eyed infant is posed using the conventions established for formal European court portraiture, and as found in other early portraits of royal or aristocratic infants.
-
The child is depicted full-length, sitting with a highly formalised velvet curtain drape in the background. As with other royal and noble portraits, the baby is shown propped up as if on a chair of state, and seemingly possessing the self-control and formal bearing normally found in portraiture of adults at court.
-
The absence of a family armorial, combined with a lack of knowledge as to the portrait’s original provenance, make the identification the child problematic.
-
However the scale and richness of composition, with the baby dressed in the finest and most expensive white satin dress trimmed with lace and holding an expensive hand crafted coral teether,suggests that at the very least, this is a child from an wealthy family.
-
The prominence of the coral teether in the picture reflects the traditional belief that coral has magical protective properties. It was thought that coral could ward off illnesses and evil spirits. Coral was also hard, cool and clean, making it ideal as a material for the teething infant.
-
In fact, the coral’s rich colour was thought to reflect the appearance of physical well-being and if the coral began to change colour it was a harbinger of illness.
-
The baby in this portrait is wearing pink ribbons, it is interesting to note that the colours pink and blue were not associated with the gender of children until the 20th century.
-
CONDITION
The painting has been re-lined to ensure good condition into the future
Presented in a good 18th century carved wood frame.
-
MEASUREMENTS (Including Frame)
Height 37 Inches
Width 32 Inches
-
DATELINE
This exceptionally rare example is estimated to be late 17th Century Region of (1690 )
-
DELIVERY
UK Courier ( 7-10 Days ) By Hand Add £80
International Shipping Quotes On Request
-
SEE EXAMPLE
BLUE Drapes Studio Of Mary Beale
Victoria & Albert Museum Collection
-
TELEPHONE ENQUIRIES: 07765 856171
Ref: 0675/A
Price: £6,950
Buy Now with PayPal





[ click a photo to enlarge ]
Studio Of Sir Thomas Lawrence Regency Period 1811-1820 Oil Portrait Of Angelic Children
This is a beautiful large scale early 19th century oil portrait painting on canvas depicting three young angelic looking children,‘ studio of ‘ Sir Thomas Lawrence being attributed to one of his pupils and possibly produced under his influence.
-
Lawrence is well known for producing a portrait of The Calmady Children (Emily, 1818–?1906, and Laura Anne, 1820–1894) Emily and Laura Anne were the children of Charles Calmady of Langdon Court in Devonshire. Their portrait— shown at the Royal Academy, and engraved under the title Nature—has always been one of Lawrence's most popular works.
-
This fine example is on display in The Metropolitan Museum Of Art In New York and bears similarities to the painting we have offered for sale. His studio produced many copies of his best known works to meet demand and these were often completed by his pupils or studio assistants.
-
In his latter years the artist struggled financially and with his health and so moved back to his family address in Greek St London from where he tried to keep up with demands for paintings.
-
When he eventually died in 1830, there were many unfinished paintings found in his studio which were completed by his pupils and it’s probable that many of these paintings were sold on as originals.
-
It is documented that whilst he was alive, one of his pupils completed his portrait depicting Mrs. Brandling and so there is certainly a strong possibility that our portrait has been produced from his studio under his influence and perhaps with an helping hand in the accomplished composition, for both he and his pupils engaged in finishing many of each other’s works.
-
George Henry Harlow was also a pupil but only stayed within his workshop for a short period of 18 months and left after a dispute relating to an altered depiction of one of his well known original works.
-
Many artists have tried to reproduce almost identical works, more so with the Calmady Children, but our example is not a copy of this famous portrait but possesses all the attributes of his hand in manner and character,but is itself an original of the time the artist lived and is a rare find to be able to purchase today.
-
Framed Measurement
Height 41 Inches
Width 36 Inches
Depth 5 Inches
-
Condition
Good Restored Order Throughout
-
Delivery
UK Courier ( 7-10 Days ) By Hand Add £80
International Shipping Quotes On Request
-
TELEPHONE ENQUIRIES 07765 856171
-
Quote Our Ref 0814/A
Ref: 0814/A
Price: £7,450
Buy Now with PayPal





[ click a photo to enlarge ]
King Edward VI (1537-1553) 17thc Dutch Oil Portrait Painting On Oak Panel
I am delighted to offer this rare oil on panel of King Edward VI (1537-1553) as a young child of around 10 years of age which has been painted with great detail as a full length passage portrait in the Manner of William Scrots and set within a later 18th century decorative plaster mounded gilt frame.The portrait is estimated to date from 1670-1700 and is a rare and unique surviving historic work which any museum or private collector would be excited to own as a display piece or investment.
-
The image is unusual, broadly similar but not quite the same as the various 'Scrots' templates. However the identical image, same size, panel, etc is in the collection at Trinity College, Cambridge.
-
As an official royal likeness portraits of this type were in circulation from circa 1550 and were particularly favoured by noble families who wished to demonstrate their allegiance to the monarchy. This portrait was almost certainly one of a group of corridor portraits designed to hang beside fellow monarchs and men and women of rank and historical note.
-
ABOUT THE YOUNG BOY KING
EDWARD VI (1537-1553) was King of England and Ireland from 28 January 1547 until his death. He was the only legitimate son of Henry VIII and his third wife, Jane Seymour.
-
He was born at Hampton Court on October 12th, 1531, His mother dying 12 days later. The heir to the throne, ''His Majesty's most noble jewel'', was brought up with every precaution to ensure his good health. Recent research reveals him as a normally strong and healthy boy, fond of athlethic exercises such as hunting and hawking.
-
Edward was little more than nine when he succeeded to the throne on the death of his father in 1547. In April 1552 he suffered from measles and smallpox, recovering by the end of May, and thereafter he was very much under the influence of the Duke of Northumberland.
-
Early in 1553 Edward became ill with consumption, from which he never recovered. At this time the Duke of Northumberland convinced Edward to ''devise'' the succession to Lady Jane Grey, Northumberland''s daughter-in-law. Edward died on 6th July 1553 and was buried at Whitehall.
-
After his accession to the throne, Edward appears to have sat only once more for his portrait in around 1550 and was painted by William Scrots. This sitting was the likely source for all subsequent variants, in all shapes and sizes, produced of Edward as the King by the Scrots studio, both during the monarch's brief reign and after Elizabeth I's accession and the subsequent re-affirmation of the Protestant faith.
-
Scrots had been court painter to the Regent of the Netherlands, Mary of Hungary , and was recruited by Henry VIII as Holbein's successor at the close of 1545. His work, covering less than 10 years in this country, has never been satisfactorily reconstructed.
-
One certain work can be associated with him from this period - the distorted perspective portrait of Edward dated 1546 (National Portrait Gallery, London). This bore the signature ''Guilhelmus pingebat'' as late as 1713.
-
ABOUT THE ARTIST
WILLIAM (GUILLIM) SCROTS fl.1537-1553. Court portrait painter from the Netherlands. Painter to Mary of Hungary, Regent of the Netherlands,1537, and persuaded to come to England in 1545, probably to succeed Holbein. He was perhaps the most able available Hapsburg Court portrait painter at the time. He disappears from the Royal Accounts in 1553.
-
PROVENANCE
Charles James Toovey Esq., Harley House, Regents Park, London.
With Leggatt's, London, by 1929. Sold for £29 to Captain A.S. Wills (1879-1961) of Thornby Hall, Northamptonshire
Then by descent through the family at Middleton House, Longparish, Hampshire.
-
CONDITION: Very Good Order For Age
-
FRAMED MEASUREMENTS :
H.23 Inches (58.5 cm) W.19 Ins (48.25 cm)
-
TEL: 07765 856171
Ref: 0787
Price: £12,500
Buy Now with PayPal



 

Mansion House Antiques & Fine Art
East Midlands United Kingdom
Tel: 07765 856 171    Outside UK Tel: 0044 7765 856 171
Email: mansionhouseantiques@googlemail.com    Website: http://www.mansionhouseantiques.co.uk    

Our Privacy Policy  |   Sitemap  
© 2019 Mansion House Antiques & Fine Art
[ admin ]