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21 June 2019
SOLD ITEMS

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MICHAEL SCHUMACHER LITHOGRAPH BY STEPHEN DOIG
This is a Limited Edition offset Lithograph of famous racing legand Michael Schumacher,being No.100 of only 500 produced.There is a certificate of authenticity on the back of the picture confiming it is signed by the artist Stephen Doig.

Stephen Doig was born in 1964 in Oxford England and specialised in pencil drawings and coloured sketches and worked in pastels.

The artist won The Fine Art Guilds Artist of The Year in 1997 and has a solid reputation for being one of the best contemporary sporting artists.

The picture measures 29 Inches x 25 Inches overall including the gilt wooden frame.

Condition is as new and is ready to hang.

OUR REF: 0026 **A BARGAIN PRICE **

TELEPHONE 07765 856171.
HOURS 10 AM- 10 PM 7 DAYS A WEEK.
PLEASE REQUEST A DELIVERY QUOTE

Ref: 0026
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REGENCY CHAISE LOUNGE C1815-30
A beautiful example Regency Chaise with brass mounted lion claw feet and separate reversible full length cushion on top of fully upholstered sprung base.

This chaise is in great condition and comes complete with a round pleated knee roll.

The upholstery is in excellent order and is clean.
The fabric is an antique green dralon with a satin finish.All round the frame is solid and has a polished finish in walnut.

Approximate Measurements:
Length: 6 Ft.6 Inches
Width: 2 Ft. 5 Inches

TELEPHONE 07765 856171.
VIEWING BY PRIOR ARRANGEMENT.
HOURS 10 AM - 10 PM 7 DAYS A WEEK.

OUR REF: 0034 **A BARGAIN PRICE**

Ref: 0034
This item has been sold





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FINE STILL LIFE FLOWER OIL PAINTING BY CHESTERTON OF LILLIES LAVENDER HONEYSUCKLE ROSES PASSIONFLOWER AND POPPIES APPROX SIZE 35 X 27 INCHES
This is a beautifully painted large oil painting on board by the artist F. Chesterton
The painting depicts a subtly toned grouping of flowers, including day lillies, oriental lillies, lavender, honeysuckle, roses, passionflower and poppies. The peach rose in the centre has a bee painted in the centre.

There is no biographical information available about the artist in our reference books or online, so the painting will have to stand on its own merits.
This large example would look stunning in any setting, both period and modern.

FRAME
The painting is framed in a 2 7/8" ornate frame, which is probably the original.
The frame is in good condition consistent with age and is probably the original.
It will be supplied wired and ready to hang.

MEASUREMENTS
Frame size: 35 3/4" x 27 1/4" - 90.8cm x 69.2cm
Image size: 30" x 21 3/8" - 76.15cm x 54.2cm

CONDITION
Very good condition. Surface clean with no paint loss. There is a small amount of craquelure in the top right quadrant, as shown. The frame is in good condition consistent with age and is probably the original.

DATE
Approx between 1930-1950

SIGNATURE
Signed in the lower right bottom corner.

TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM-10PM 7 DAYS A WEEK BY APPOINTMENT ONLY

DELIVERY UK MAINLAND & WORLDWIDE / QUOTES ON REQUEST

OUR REF 0556 * A COLOURFUL DECORATIVE DISPLAY WORK



Ref: 0556
This item has been sold





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"THE KNIGHT OF MALTA" ITALIAN VENENTIAN MASTERPIECE BY FOLLOWER OF TITIAN B1488 - D1576 & IN ORIGINAL FLORENTINE FRAME 36 X 42.5 INCHES / 19TH CENTURY C1836
"THE KNIGHT OF MALTA" ITALIAN VENENTIAN MASTERPIECE OIL ON CANVAS BY FOLLOWER OF TITIAN (TIZIANO VECELLIO)1488-1576

FRAME:
PRESENTED IN THE ORIGINAL HAND CRAFTED FLORENTINE PERIOD FRAME,WITH BEAUTIFULLY GESSO MOULDED FRUIT DESIGN IN LAVISH GOLD

MEASUREMENTS:
HEIGHT 42.5 Inches
WIDTH 36 Inches

A stunning example of art portraiture and realism at its best,is achieved in this quality painting,depicting " The Knight of Malta ".

Originally Attributed to artist Giorgione Da Cento.

THE KNIGHT OF MALTA]
AS PER LITRATURE UFFIZI MUSEUM FLORENCE.

The "Knight of Malta," in the Uffizi, is a more mature work, and reveals Giorgione to us as a portrait painter of remarkable power. The conception is dignified, the expression resolute, yet tempered by that look of abstract thought which the painter reads into the faces of his sitters. The hair parted in the middle, and brought down low at the sides of the forehead, was peculiarly affected by the Venetian gentlemen of the day, and this style seems to have particularly pleased Giorgione, who introduces it in many other pictures besides portraits. The oval of the face, which is strongly lighted, is also characteristic. This work shows no direct connection with Bellini's portraiture, but far more with that which we are accustomed to associate with the names of Titian and Palma. It dates probably from the early part of the sixteenth century, at a time when Giorgione was breaking with the older tradition which had strictly limited portraiture to the representation of the head only, or at most to the bust. The hand is here introduced, though Giorgione feels still compelled to account for its presence by introducing a rosary of large beads. In later years, as we shall see, the expressiveness of the human hand will be recognised; but Giorgione already feels its significance in portraiture, and there is not one of his portraits which does not show this.

LATER RE-ATTRIBUTED to the famous works of one of the greatest Venetian Masters Titian or (Tiziano Vecellio)

The original portrait was painted around 1510 and is on display in the Uffizi Gallery at Campagnolas in Florence.

This later version having been painted in 1836 by a respected and very artistically talented member of the Gooch family from East Anglia,which was painted during a six year period when the artist lived in Florence.

This quality portrait is the only professional example known to exist after Titians original masterpiece back in 1510,of "The Knight of Malta".

Rubens and other well known renaissance artists often reproduced famous works,depicting well known masters with indistinguishable accuracy.

The beautiful gilt florentine frame is all original to the portrait and is in good condition,having been hand made and finished in real gold.

The bright gold finish on the frame contrasts well with the darker areas of the portrait,to bring out the subject matter at its best.

We have included a picture of artist Titian as seen in image no.5

Today " FRA MATTHEW FESTING " is the current Grand Master of the Sovereign Order of Malta,
whose head office is in Rome.

PROVENANCE:
Private Collection from East Anglian Country House &
BY DECENT THROUGH FAMILY LINEAGE.

VERSO:
Framers & Restorers Printed Label Reads:

W.BOSWELL & SON. 48 LondonStreet Norwich.
Established 1725.

VERSO:
Early Victorian Hand Written Label Reads:

"THE KNIGHT OF MALTA"
By Giorgione Da Cento
Painted By Gooch in the Gallery at Florence.
May 1836.

TELEPHONE ENQUIRIES: 07765 856171
HOURS 10 AM- 10 PM 7 DAYS A WEEK

DELIVERY UK MAINLAND & WORLDWIDE
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* ALL ABOUT THE KNIGHTS OF MALTA *

VISIT THE LINK BELOW BY COPYING &
PASTIING INTO YOUR WEB BROWSER

LINK:

www.knightsofmalta.com/history/history.html

OUR REF: 0360 THE BEST EXAMPLE SEEN


Ref: 0360
This item has been sold





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"THE ORDER OF RELEASE BY ALICE 'O' CLAY . SIGNED OIL ON CANVAS C1880 (ONE OF A PAIR)
A stunning oil on canvas painting entitled "The Order of Release"by well known Scottish artist Alice O Clay,dating around 1880.

This truely beautiful work of art is sensitively painted after an original by John Everett Millais,which hangs on display in the 'Tate Gallery' in London.

Fine attention to detail with a great deal happening within the scene.

The painting is well presented in a good quality Victorian plaster gilt frame being in its original condition with the gold finish unspoilt.

The frame is enscribed with the title,centre bottom,and the painting is both signed on the rear canvas as well as the lower left hand corner.

The painting is one of a pair being offered separately.

Measurements are 41 Inches x 29 Inches overall to include the frame.

Tel: Enquiries 07765 856171
Hours 10am - 10pm 7 Days a Week.
Viewing By Prior Arrangement.
Delivery UK Mainland & International

OUR REF: 0122
Ref: 0122
This item has been sold





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"THE SILKEN GOWN"BY ALICE O CLAY. SIGNED OIL ON CANVAS C1880 (ONE OF A PAIR)
A stunning Victorian oil on canvas entitled "The Silken Gown" by Alice O Clay,a sought after Scottish artist.

Painted beautifully after an original by Thomas Faed,which hangs in the famous 'Tate Gallery' in London.

The painting is one of a pair being offered for sale separately,and is in very good condition.

The painting sits in a good quality original plaster gilt frame,with the gold finish unspoilt.

The painting is enscribed on the lower centre frame,as well as being signed by the artist in the lower right hand corner and on the rear of the canvas.

The detail is amazing as the painting captures a glimpse of life back in Victorian times.

There is plenty of interest and discussion going on in the scene,especially notice the young girl cradling her baby doll whilst the young dog rests its head by her side as if to ask for the same love and attention.

Measuring overall 41 Inches x 29 Inches.

ONE OF A PAIR OFFERED SEPARATELY.

Tel: Enquiries 07765 856171
Hours 10am - 10pm 7 Days a Week
Viewing By Prior Arrangement.
Delivery UK Mainland & International.

OUR REF: 0123
Ref: 0123
This item has been sold





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( SOLD ) ALFRED POLLENTINE VENICE OIL PAINTING 48 X 68 INS VIEW OF THE GRAND CANAL IN STUNNING DECORATIVE FRAME
PAYMENT BY INSTALMENTS OVER 4 MONTH TERM.
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ALFRED POLLENTINE (1836-1890)
The artist is best known for his beautifully depicted Venetian scenes,Alfred being the best known of a family of artists which included R.J.Pollentine (fl. 1852-62) a painter of landscapes and animals, and W.H.Pollentine (fl. 1847 - 50) who painted coastal and shipping scenes.
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Most renowned for his substantial body of work depicting scenes of Venice, Alfred Pollentine occasionally painted views of familiar English coastal landmarks (Whitby, Scarborough, St. Michaels Mount, Tynemouth etc); and much more rarely, continental ports.
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Obviously interested by the relationship of town and water, Alfred Pollentine's is a fluid smooth style, in which fine use of line is combined with a distinctive and Italianate use of pastel colouring.
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Although he exhibited at the major London galleries during the period 1861 - 1880, showing 2 works at the British Institution and 23 at the Royal Society of British Artists, Pollentine had a robust market for his work and he rarely needed to exhibit during latter part of his long career as an artist.
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This huge example within a stunningly decorative period frame is one of the best works around in todays sought after market for his works,which paintings a fraction of the size still selling for thousands at the best auctions in London.
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This substantial work was obviously for a very wealthy client,who has spared no expense in the shear scale of the commission,being one on its own for size,and making this example a are and collectible painting.
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CONDITION
This fine example has been professionally cleaned throughout and restored visually to near perfect.
The canvas has had a professional re-line to a high standard and is well strengthened as a result of work.
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FRAME
This is one of the most spectacularly decorative swept gilt frames seen for a long while and absolutely makes the painting a million dollars in looks.Very original hand made plaster moulded design with the odd but unnoticeable old repair.
A frame of this huge size and quality could cost as much as £3500-£4000 today fully restored.
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SIGNATURE
The painting has been clearly signed in the lower right botton corner "Pollentine"
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MEASUREMENTS (Including Frame)
Height 48 Inches ( 4ft)
Width 68 Inches ( 5ft/8 Inches)
Depth 6 Inches
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TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM - 10 PM 7 DAYS A WEEK BY APPOINTMENT
>
DELIVERY UK MAINLAND & WORLDWIDE / QUOTES ON REQUEST
>
PAYMENT BY 4 INSTALMANTS AVAILABLE ON REQUEST
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OUR REF 0615 * A SIGNIFICANT WORK OF ART

SOLD



Ref: 0615
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* RESERVED * Mary Queen of Scots After Nicholas Hilliard 18thc Oil Portrait Painting
This slightly naive painting of Mary Stuart ( Mary Queen Of Scots 1542-1587 ) is one of many examples produced throughout the centuries since her death of a portrait known as the ‘Sheffield’ type
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This depiction was previously thought to be derived after the original version as seen on display at Hardwicke Hall and was said to have been painted while Mary was in captivity at Sheffield Castle.
This is however questionable as the copied likeness here is most probably another of many derivations of Nicholas Hilliard’s works.
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It is accepted that the production of this portrait type actually grew from James 1st idea of rehabilitating his mother’s legacy in the early 17th century.
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James 1st never knew his mother, but sought to suppress her poor reputation when he became king of England in 1603.
His succession to the throne depended on his descent from Mary, and to have her remembered as a flawed, if cunning political opportunist could only harm his position.
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Portraits of the type were produced to elevate the memory of Mary into the status of a pious victim who was very much misunderstood and was martyred for the good of Scotland.
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This portrait of Mary Queen Of Scots is thus produced after her death and is a portrayal of her in mourning, depicted wearing the prominent cross on a long chain and with no conspicuous jewellery.
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The portrait aims to convey redemption as a record of her likeness. She spent most of her childhood in France while Scotland was ruled by regents, and in 1558, she married Francis the Dauphin of France.
Soon widowed, Mary returned to Scotland, arriving in Leith in 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley and in 1566 they had a son, James.
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Framed Measurements : 21 x 17 Inches
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TELEPHONE ENQUIRIES. 07765 856171
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Our Ref 0817 ( NOW RESERVED )
Ref: 0817
This item has been sold





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17TH CENTURY OIL PORTRAIT OF A YOUNG GENTLEMAN / ENGLISH SCHOOL & CIRCLE OF D'AGAR & STUNNING QUALITY IN ORIGINAL GILTWOOD FRAME 38 X 33 INCHES
A fine oil portrait on canvas beautifully presented in a carved period gesso and gilt oval frame.

The sitter, expensively and fashionably dressed, looks confidently out at the viewer; he wears his cravat tied 'a la Steinkirk'.

(During the wars of Louis XIV of 1689–1697 the flowing cravat was replaced with the military "Steinkirk", named after the Battle of Steenkerque in 1692.

The Steinkirk was a long, narrow, plain or lightly trimmed neckcloth wrapped once about the neck in a loose knot, with the ends twisted together and tucked out of the way into a button hole.

The Steinkirk was popular with men and women until the 1720s.)

CHARLES D'AGAR (1669 - 1723) came to England with his Huguenot father Jacques in 1681, settling here permanently after a stay in Copenhagen by 1691. He had a good practice, numbering such people as the Duke of Buccleuch and Lord Bolingbroke among his patrons.

D'Agar painted very much in the style of Michael Dahl, whose portraits of children are very similar, especially in the treatment of the hair.

MEASUREMENTS:
HEIGHT: 38 Inches Inc Frame
WIDTH: 33 Inches Inc. Frame.

PROVENANCE:
By descent, an old Surrey private collection.

VERSO: old restorer's label

Date: c.1695

TELEPHONE ENQUIRIES 07765 856171.
VIEWING BY PRIOR ARRANGEMENT.
HOURS 10m - 10 pm 7 DAYS A WEEK.

DELIVERY UK MAINLAND OR WORLDWIDE
QUOTES AVAILABLE ON REQUEST

OUR REF 0389



Ref: 0389
This item has been sold





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17TH CENTURY OIL PORTRAIT OF KING CHARLES II B1630-D1685 STUDIO OF JOHN MICHAEL WRIGHT (B.1617-D.1694) ENGLISH SCHOOL & MEASURING 54.5 X 45.5 INCHES IN PERIOD GILT FRAME.
King Charles II (1630-1685), Reigned 1660-85.

This portrait of the king in garter robes shows him as he appeared to his subjects at the Restoration, a tall and imposing man in his thirties; in old age Charles's features would show the ravages of personal indulgence. The portrait is in an exceptional period original frame.

ABOUT KING CHARLES II

Fugitive
Philanderer
Fireman

Charles II’s life was hugely eventful.
During the Civil War he saw service at the Battle of Edgehill aged only twelve and he continued to fight until he was sent abroad for safety aged fifteen.

When he was twenty-one he launched a daring invasion of England, which ended in defeat at the Battle of Worcester.

Charles spent six weeks on the run before he escaped the country disguised as a servant.
He was restored to the throne in 1660 but in 1665 was forced to flee from London with his family to avoid the plague.

Charles also had a busy private life; his court was notorious for its easy-going morality and he fathered fourteen illegitimate children by seven mistresses.

Hardly surprising then that when the Great Fire of London broke out in 1666, this man of action personally directed the fire-fighting effort and worked manually with his brother James to throw water on the flames.

LABEL 1/ VERSO:

ON LOAN AS EXHIBIT ON 29/1/1972
CARNEGIE INSTITUTE PITTSBURGH USA

Label 2/ states: Michele Setton Fine Art
Rosebank Johannesburg
ARTIST:
"STUDIO OF" JOHN MICHAEL WRIGHT.

TERMINOLOGY:
A picture catalogued as ''Studio of''...is in our opinion a work executed in the studio of the artist, probably under his supervision

ABOUT THE ARTIST:
John Michael Wright (May 1617– uly 1694) was a portrait painter in the Baroque style.
Described variously as English and Scottish,
Wright trained in Edinburgh under the Scots painter George Jamesone,and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome.

There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation.

He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655.
He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration.
A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political maneuverings of the era.

In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI.

Wright is currently rated as one of the leading indigenous British painters of his generation, largely for the distinctive realism in his portraiture. Perhaps due to the unusually cosmopolitan nature of his experience, he was favoured by patrons at the highest level of society in an age in which foreign artists were usually preferred. Wright's paintings of royalty and aristocracy are included amongst the collections of many leading galleries today.

CONDITION:
This fine portrait is in very good condition, benefitting from a professional clean and revarnish in past years,as well as being wax relined.

The colours are still vibrant and rich and convey the full charactor and charm of this early oil on canvas portrait,still retaining its original frame.

FRAME:
ORIGINAL GESSO & GILT
Finished with a florrel design.

MEASUREMENTS :
54.5 x 45.5 Inches (139 cm x 116 cm) Inc Frame

ACTUAL Canvas Size:
44 x 35.25 Inches (112 cm x 90 cm)

TELEPHONE ENQUIRIES: 07765 856171
HOURS 10AM - 10PM 7 DAYS A WEEK.

DELIVERY UK MAINLAND & WORLDWIDE
SHIPPING QUOTES AVAILABLE ON REQUEST.

REF: 0392 * BARGAIN PRICE & INVESTMENT *





Ref: 0392
This item has been sold





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17TH.CENTURY PORTRAIT OF A YOUNG GIRL SITTING WITH LAMB
A fine and charming late 17th century c.1670 - 1690 oil on canvas of a seated young girl with a lamb at her side.
Landscape is painted in the background via a artists window.

The painting is in good condition and ready to hang. It is contained within a late 17th century carved wood frame with original patination.

The painting has been professionally re-lined in the past and has had a light clean and re-varnish some time ago.

There are various labels verso,two of which are related to storage companies and has the last owners name mentioned.

The frame is original and has a well worn patina,with the gilt finish being barely visable due to 300 years of wear.
The finish still looks fine as seen,although could be brushed over lightly with a gilt wax cream to re-invigorate.

MEASUREMENTS
34.5" x 29.5" including frame.
Picture size 30" x 25"

TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM-10PM 7 DAYS A WEEK

DELIVERY UK MAINLAND / REQUEST QUOTE
WORLDWIDE SHIPPING QUOTES ON REQUEST

OUR REF 0388 AN ABSOLUTE BARGAIN



Ref: 0388
This item has been sold





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17thc Fine Oil Portrait Painting of Frances Graves c1621 (Nee Gourney) Follower of Artist Gilbert Jackson (1595-1648) Post Elizabethan & Tudor Art Ruff Collars Hand Carved Gilt Frames Kiftsgate Court Hall Mickleton Manor Old Master Paintings
17THC OIL PORTRAIT ON CANVAS OF FRANCES GRAVES (Nee Gourney) WIFE OF RICHARD GRAVES DATED C1621 & SET IN THE ORIGINAL FINELY CARVED GILT-WOOD FRAME
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ABOUT SITTER
Frances Gourney was the eldest daughter of William Gourney of Moore Hall in Yardley Hertfordshire.
She is depicted in this fine circa 1621 dated portrait wearing a black capotain hat which was especially associated with Puritan costume in England during the period.
Her costume garment is black with elaborate white ruff collar with long conical perforated lace sleeves.
Frances married to Richard Graves who was an haberdasher and owner of significant properties in London.
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LABEL VERSO
The portrait bears a paper label verso printed with 'No. 13 Kiftsgate Court, Hall, through Sidney Graves Hamilton' (Kiftsgate Manor was bought by their son Richard Graves) see image 9
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FRAME
The frame is the original 17thc gilt-wood example and is deeply carved with clusters of flowers and acorns.
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ABOUT ARTIST GILBERT JACKSON (c.1595-after 1648)
Gilbert Jackson was an itinerant portrait painter whose origins are unknown he is documented as painting from about 1620 to about 1650 from recorded commissions and signed and dated paintings.
His art is purely English, and little influenced by the arrival in England of such painters as Paul van Somer, Daniel Mytens or Anthony Van Dyck.
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His work looks back to the flat hieratic style of the late Elizabethan Court, and he devotes infinite care to the rendition of surfaces, colours and textures whilst seeming to be indifferent to the niceties of perspective.
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The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once deeply old-fashioned in the new world of the Baroque, and infinitely charming and unselfconscious.
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LITERATURE: The Graves family of Yorkshire and Mickleton Manor Gloucestershire England is one of the most ancient in England.
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This family is believed to have used the name De Grava in Bordeaux, Gascony. It went in with the Norman army, and settled in Yorkshire. The name underwent several changes, and its members have been De Grevis, De Greves, Greve, Grave, Greaves, Greeves, and Graves. John de Grevis was in the army of King John. His great grandson was Thomas de les Greves.
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The family lived in early days in that part of England now known as counties Lincoln, Nottingham, Derby and York, occupying the northern part of the three first named and the southern part of York. The first recorded family seat was known as Greves or Greaves, in the parish of Beeley, near Chatsworth, in the northern part of Derbyshire, and a few miles from the southerly boundary of York, where the family resided as early as the reign of Henry III (1216-1272).
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Also, according to John Card Graves, the important families of Greaves, of Mayfield Hall, Co. Stafford, Greaves of Page Hall and Elmsall Lodge, Co. Bucks, and others, trace their descent from the ancient Derbyshire family. Many of the descendants of the different branches of the family went, from time to time, to London and other cities in Great Britain, and to the Colonies, and notably to the American Colonies, in the score of years from 1629 to 1649.
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CONDITION
Good Condition commensurate with age requiring no immediate work.
Frame has minor wear and a few losses.
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INSCRIPTIONS
Dated upper left corner Ano 1621
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PROVENANCE
With Needham's Antiques, Buxton in the 1980s from whom bought by a Wiltshire gentleman.
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MEASUREMENTS (Framed Size)
Height 46.5 Inches x 38.75 Inches (118 cm x 98.5 cm)
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DELIVERY :UK £80 & Worldwide Extra
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TELEPHONE ENQUIRIES. 07765 856171
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SPECIAL JANUARY SALE PRICE ENDS 31st
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Our Ref 0724



Ref: 0724
This item has been sold





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17thc Oil Portrait Painting of Richard Graves c1621 ( Aged 49 ) Follower of Artist Gilbert Jackson (1595-1648)
17THC OIL PORTRAIT ON CANVAS OF RICHARD GRAVES DATED C1621 & SET IN THE ORIGINAL FINELY CARVED GILT-WOOD FRAME
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ABOUT SITTER
Richard Graves in depicted in this fine portrait wearing all black garment with elaborate white ruff collar and aged 49 in 1621 (born in 1572) and was married to Francis Gourney, eldest daughter of William Gourney of Moore Hall, Yardley, Hertfordshire.
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He lived in London, where he was a citizen and haberdasher, who owned much property, messuages and taverns, including “The Ship”, "The Dogges Head" and "The Chequers" in the parishes of St. Martin's and St. Bride's.
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He died in April 1626, and was buried in St. Martin's, Ludgate.
His will was proved in 1626.
Arms: Argent, a Cross voyded and engrailed, between 4 mullets or 6 poirells, Gules.
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LABEL VERSO
The portrait bears a paper label verso printed with 'No. 12 Kiftsgate Court, Hall, through Sidney Graves Hamilton' (Kiftsgate Manor was bought by their son Richard Graves) see image 6
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FRAME
The frame is the original 17thc gilt-wood example and is deeply carved with clusters of flowers and acorns.
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ABOUT ARTIST GILBERT JACKSON (c.1595-after 1648)
Gilbert Jackson was an itinerant portrait painter whose origins are unknown; he is documented as painting from about 1620 to about 1650 from recorded commissions and signed and dated paintings.
His art is purely English, and little influenced by the arrival in England of such painters as Paul van Somer, Daniel Mytens or Anthony Van Dyck.
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His work looks back to the flat hieratic style of the late Elizabethan Court, and he devotes infinite care to the rendition of surfaces, colours and textures whilst seeming to be indifferent to the niceties of perspective.
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The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once deeply old-fashioned in the new world of the Baroque, and infinitely charming and unselfconscious.
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LITERATURE
THE GRAVES FAMILY OF YORKSHIRE AND MICKLETON MANOR, GLOUCESTERSHIRE, ENGLAND.
The family of Graves is one of the most ancient in England.
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This family is believed to have used the name De Grava in Bordeaux, Gascony. It went in with the Norman army, and settled in Yorkshire. The name underwent several changes, and its members have been De Grevis, De Greves, Greve, Grave, Greaves, Greeves, and Graves. John de Grevis was in the army of King John. His great grandson was Thomas de les Greves.
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The family lived in early days in that part of England now known as counties Lincoln, Nottingham, Derby and York, occupying the northern part of the three first named and the southern part of York. The first recorded family seat was known as Greves or Greaves, in the parish of Beeley, near Chatsworth, in the northern part of Derbyshire, and a few miles from the southerly boundary of York, where the family resided as early as the reign of Henry III (1216-1272).
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Also, according to John Card Graves, the important families of Greaves, of Mayfield Hall, Co. Stafford, Greaves of Page Hall and Elmsall Lodge, Co. Bucks, and others, trace their descent from the ancient Derbyshire family. Many of the descendants of the different branches of the family went, from time to time, to London and other cities in Great Britain, and to the Colonies, and notably to the American Colonies, in the score of years from 1629 to 1649.
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CONDITION
Good Condition commensurate with age requiring no work.
Frame has minor wear and a few losses and one large piece ( see bottom centre and top right )
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INSCRIPTIONS
Dated upper left corner Ano 1621 / Inscribed upper right corner 49 ( Sitters Age )
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PROVENANCE
With Needham's Antiques, Buxton in the 1980s from whom bought by a Wiltshire gentleman.
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MEASUREMENTS (Framed Size)
Height 46.5 Ins x 38.75 Ins (118 x 98.5 cm)
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DELIVERY: UK £80 & Worldwide Extra
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TELEPHONE ENQUIRIES. 07765 856171
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SPECIAL SALE PRICE ENDS 31st JAN
Ref: 0723
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17THC PORTRAIT OF KING CHARLES 1ST (1599-1641) AFTER VAN DYCK IN LATER FRAME
This portrait on canvas is an excellent version of one of Van Dyck’s finest portraits of Charles I and depicts him wearing the Order of the Garter on a blue silk ribbon with a gold locket attached.
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SIR ANTHONY VAN DYCK (22 March 1599–9 Dec 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. 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.
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These reduced portraits of van Dyck's works are difficult to date precisely,but copies were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'cabinet' pictures, adorning the private walls of Royalist supporters. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).
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One of the series of portraits after Van Dyck and Lely. By the reign of George III they were attributed to Theodore Russell (1624-88), nephew of Cornelius Johnson, but on stylistic grounds and format they are now attributed to Remigius van Leemput, believed to have been at one time an assistant in Van Dyck's studio.
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REMIGIUS VAN LEEMPUT,(1609?–1675), painter, born at Antwerp about 1609, was received into the Guild of St. Luke there in 1628–9. He came to England in Charles I's reign, and among other works for that king he made a small copy in oils of the famous painting by Holbein at Whitehall of Henry VII, Henry VIII, and their queens, which was afterwards destroyed by fire Van Leemput's copy is now at Hampton Court. He was one of the purchasers at the sale of King Charles's collection, and among his purchases was the great picture of Charles I on horseback, by Van Dyck (now at Windsor), which was recovered from him with some difficulty at the Restoration.
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ABOUT KING CHARLES 1ST
Charles I (19 November 1600 – 30 January 1649[a]) was monarch of the three kingdoms of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649.
Charles was the second son of King James VI of Scotland, but after his father inherited the English throne in 1603, he moved to England, where he spent much of the rest of his life. He became heir apparent to the English, Irish and Scottish thrones on the death of his elder brother, Henry Frederick, Prince of Wales, in 1612. An unsuccessful and unpopular attempt to marry him to a Spanish Habsburg princess culminated in an eight-month visit to Spain in 1623 that demonstrated the futility of the marriage negotiations. Two years later he married the Bourbon princess Henrietta Maria of France instead.
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FRAME
Two missing pieces of plaster lower bottom now restored)
Presented in a later decorative moulded frame dating itself 1800-1810,having had some good old repairs which are hard to spot.Fairly original old gilt finish and suits the portrait.
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CONDITION
The portrait has been relined and put onto a later stretcher 200 years ago and still has a very faint sign of an oval mount silhouetted inside a painted freight from the earlier 17th century period.
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There is the normal fine craquelure as expected,but all painted surfaces are stable and requiring no work.
There has been old signs of a little minor retouching of the lace work.The portrait is ready to hang.
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PROVENANCE
See Image 5 which shows Sutton Hall in Norfolk,
DATELINE Estimated to be mid-late 17thc
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MEASUREMENTS (Including Frame)
Height 21 Inches
Width 19 Inches
ACTUAL CANVAS SIZE VISABLE
Height 12 Inches
Width 10 Inches
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TELEPHONE ENQUIRIES 07765 856171 VIEW BY APPOINTMENT
DELIVERY UK MAINLAND & WORLDWIDE / OUR REF 0608

Ref: 0608
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17thc Queen Anne Of England Follower Of Artist Godfrey Kneller (1646-1723) & Earlier Princess Anne Of Denmark (1683-1702) Aged 18-21 Old Master Royal Oil Portrait Paintings In Period Gilt Frame
An impressive grand scale full length portrait of Queen Anne, when Princess Anne of Denmark (1683-1702),aged around 18-21 and depicted in Royal Dress Robes standing full length in a palace interior and wearing a plush ermine lined cape and white dress profusely decorated with gold brocade.
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This particular portrait depicts a very young Princess Anne (nee Stuart) est. late 17thc after 1683-1686 before bearing her only child in 1689 and is very similar to works by Godfrey Kneller (1646-1723)
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ABOUT GODFREY KNELLER (Follower Of}
Sir Godfrey Kneller, 1st Baronet (born Gottfried Kniller, 8 August 1646 – 19 October 1723), was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George I. His major works include The Chinese Convert (1687 Royal Collection, London) a series of four portraits of Isaac Newton painted at various junctures of the latter's life a series of ten reigning European monarchs, including King Louis XIV of France over 40 "kit-cat portraits" of members of the Kit-Cat Club and ten "beauties" of the court of William III.
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SYMBOLISM IN PICTURES
The use of objects within a still life painting that have a special meaning This creates a deeper meaning in a work besides being a pretty picture! The still life painting has allowed artists the ability to send these extra messages.
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Allegorical is representations of the brevity of life, decay and finally death and was a popular theme, called Vanitas.Allegory is a way of communicating a message via symbols, and symbolic figures.
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VANITAS (Latin for vanity). These are paintings with still life symbolism around a central theme with a moral message. They remind the viewer of death, the fragility of human life, and the brevity of our existence. The artist would use items like a skull, timepiece, snuffed out candle to represent the passage of time. Books, musical instruments (very expensive items during the time period) are there to warn of the futility of worldy pursuits.
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ABOUT THE SITTER
Anne was born on 6 February 1665 in London, the second daughter of James, Duke of York, brother of Charles II. Anne and her elder sister Mary received a Protestant upbringing although their father James converted to Catholicism and remarried. In 1683 Anne married Prince George of Denmark (1653–1708). She had between 16 and 18 pregnancies but tragically only one child survived - William, Duke of Gloucester and he died aged 11 of smallpox in 1700.
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Her sister Mary married William of Orange but Anne was forbidden by her father to visit her in the Netherlands. When William landed in England in 1688 to take the throne, Anne on the influence of her close friend Sarah Churchill (1650–1744) the wife of John Churchill (1650–1722), supported her sister and brother-in-law against her father James. Churchill was created Duke of Marlborough by William when he was crowned King William III and her sister Queen Mary II. Anne detested her brother-in-law, and the Churchill’s influence led her briefly during William’s reign to engage in Jacobite intrigues.
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Mary died in 1694 and on William’s death in 1702 and Anne succeeded to the throne and became the Queen of England, Scotland and Ireland between 8 March 1702 and 1 May 1707. On 1 May 1707, under the Acts of Union, two of her realms, the kingdoms of England and Scotland united as a single sovereign state known as Great Britain.
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FRAMED MEASUREMENTS
Height 58.5 Inches (149 cm)
Width 39 Inches (99.5 cm)
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CONDITION
Very good throughout with evidence of a firm historical reline with very minor craquelure as usual with slight retouching commensurate with age.Stretchers replaced in the past, all looking very respectable.
Ref: 0777
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18TH CENTURY DUTCH FLEMISH SCHOOL OIL PORTRAIT ON BOARD OF A LADY WEARING RUFF COLLAR & PRESENTED IN A HAND CRAFTED HEAVY OAK DISTRESSED FRAME 25 X 28 INS
A late 18th century Dutch or Flemish school oil portrait on board of a lady wearing a ruff collar, influenced after the master portraitist Van Dyke.

LABEL VERSO READS
There is a travel label on the back of the portrait which reads:
Property of Miss F C Bailey April 29th 1839
Passenger Per Jupiter
From (St) Petersburg to London

HISTORY OF THE LINER JUPITER.
The JUPITER was a Passinger Liner owned and operated by the Peninsular & Oriental Steam Navigation Company
Built by John Scott & Sons in the Greenock yard UK.
The vessel was constructed mainly of wood and had a gross tonnage weight of 610,with a length of 158 feet.
Powered by simple steam engines which were built by Scott Sinclair & Co again in Greenock UK.
This vessel was a paddle steamer and could reach up to 9 knots in speed.

1835 Completed as Jupiter for St.George Steam Packet Co,Dublin for their Liverpool/Newry service.
Jupiter was the supreme god in the ancient Roman patheon.Was transferred in 1836 to Dublin/Glasgow trade and ownership transferred to Cork Steamship Co.
1846 Badly damaged running aground in the Avon on the Bristol service.
1847 Purchased by James Hartley,London,a director of P&O & was then chartered to the Peninsular & Oriental
Steam Navigation Co,who bought the vessel in 1848.
1848 At Corunna until 11th March withgale damage.
1851 At Corunna until 24th Jan after engine breakdown
1851 One return voyage Southampton to Constantinople.
1852 Reportedly sold to the North of Europe Steam Navigation Company for a service to St.Petersburg.
OUR LABEL & RECORD DIFFERS BY CONFIRMING THIS VESSEL MADE A TRIP TO ST.PETERSBURG IN 1839.
1852 Sold eventually to ship breakers.

CONDITION
Recently cleaned and lightly restored.

FRAME
A very heavy solid hand made oak frame from around a similar period,being very distressed due to age.

MEASUREMENTS(Including Frame)
Height 28 Inches
Width 25 Inches
Depth 2 Inches.

ACTUAL IMAGE SIZE
Height 18 Inches
Width 15 Inches

DATE
Estimated to be around 1790 (Very late 18thc)

TELEPHONE ENQUIRIES 07765 856171
HOURS 10AM - 10PM 7 DAYS A WEEK / BY APPOINTMENT ONLY.

DELIVERY UK MAINLAND & WORLDWIDE / QUOTES ON REQUEST

OUR REF: 0542 *AN INTERESTING STORY & UNKNOWN SITTER
Ref: 0542
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18TH CENTURY OIL PORTRAIT OF KING CHARLES 1ST AFTER VAN DYCK'S TRIPTYCH THREE HEADED VERSION & LATER CUT DOWN
A good oil portrait on canvas depicting the famous KING CHARLES 1st,After VAN DYCK'S original version painted as a three headed triptych example.

The portrait offered has been carefully cut down to show only the right hand side view of King Charles head and shoulders,with the central head only part retained,as if to imply he is now reflected in a mirror.

CONDITION

The portrait has signs of a very old relining,which has held good to this day and requires no further attention.

RESTORATION WORKS

The portrait has undergoing a full professional clean and revarnish,which will greatly enhance the overall appearance.

FRAME

The decorative frame dates from around the late 18th century period 1790-1800 and is in good clean condition with no work being required.

The original, painted in 1635, was sent to Rome in order that the noted sculptor Bernini had an accurate image from which to sculpt a marble bust of the monarch.

The painting now belongs to Her Majesty Queen Elizabeth ll.

The bust was destroyed in the fire which severely damaged Whitehall Palace in 1698

ABOUT THE ARTIST

Sir Anthony van Dyck (Dutch pronunciation: [v?n 'd????k], many variant spellings;[1] 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England. 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.

Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. 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.[2] By the age of fifteen he was already a highly accomplished artist, as his Self-portrait.

MEASUREMENTS ( Including Frame )

Height: 36 Inches
Width: 29 Inches

TELEPHONE ENQUIRIES: 07765 856171
HOURS 10AM - 10 PM 7 DAYS A WEEK

DELIVERY UK MAINLAND & WORLDWIDE
QUOTES AVAILABLE ON REQUEST

OUR REF: 0440

Ref: 0440
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18TH CENTURY OIL PORTRAIT OF NAVAL OFFICER MAJOR GALLESPIE OF THE BENGAL ENGINEERS AT TRAFALGAR "CIRCLE OF" LEMUEL FRANCIS ABBOTT 1760-1805 ENGLISH SCHOOL 40 X 32 INCHES
A fine oil on canvas portrait of Naval Officer Major Gallespie of the Bengal Engineers in his uniform around the time of the Battle of Trafalgar.

The portrait has been fully restored to a high standard by professionals in London.

The frame is believed to be the original example and is in good condition,having been re-guilded.

The portrait has been wax relined and cleaned,with a light re-varnish to finish.

ARTIST:
This portrait is classified as "Circle of" artist Lemeul Francis Abbott,who often painted naval officers and who produced many examples of Admiral Lord Nelson.

CONDITION
This rare portrait has had a professional reline and a careful
clean and light re-varnish,and is now looking superb and vibrant.

EXAMINATION.
Under ultra violet light,as viewed in a dark room,there are no signs of any over painting or repairs,making this a genuinely nice early example.

DATE:
The portrait has been painted in our opinion between 1760-1805.

LABEL VERSO:
Major Gallespie of the Bengal Engineers at Trafalga

Measurements:
Height: 40 Inches (Inc.Frame)
Width: 32 Inches ( Inc.Frame)

TELEPHONE ENQUIRIES: 07765 856171
HOURS 10 AM - 10 PM 7 DAYS A WEEK.

DELIVERY UK MAINLAND & WORLDWIDE
QUOTES AVAILABLE ON REQUEST.

OUR REF: 0378 * A GENUINE BARGAIN PRICE *




Ref: 0378
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18TH CENTURY OIL PORTRAIT PAINTING OF KING EDWARD 6TH OF ENGLAND ENGLISH SCHOOL PAINTING ON CANVAS 37 X 32.5 INCHES
ABOUT KING EDWARD VI

Edward VI (12 October 1537 – 6 July 1553) was the King of England and Ireland from 28 January 1547 until his death. He was crowned on 20 February at the age of nine.[1] The son of Henry VIII and Jane Seymour, Edward was the third monarch of the Tudor dynasty and England's first monarch who was raised as a Protestant. During Edward's reign, the realm was governed by a Regency Council, because he never reached maturity. The Council was first led by his uncle Edward Seymour, 1st Duke of Somerset, (1547–1549), and then by John Dudley, 1st Earl of Warwick, from 1551 Duke of Northumberland (1550–1553).

Edward's reign was marked by economic problems and social unrest that, in 1549, erupted into riot and rebellion. An expensive war with Scotland, at first successful, ended with military withdrawal from there and Boulogne-sur-Mer in exchange for peace. The transformation of the Anglican Church into a recognisably Protestant body also occurred under Edward, who took great interest in religious matters. Although Henry VIII had severed the link between the Church of England and Rome, he never permitted the renunciation of Catholic doctrine or ceremony. It was during Edward's reign that Protestantism was established for the first time in England with reforms that included the abolition of clerical celibacy and the Mass and the imposition of compulsory services in English. The architect of these reforms was Thomas Cranmer, Archbishop of Canterbury, whose Book of Common Prayer has proved lasting.

In February 1553, at age 15, Edward fell ill. When his sickness was discovered to be terminal, he and his Council drew up a "Devise for the Succession", attempting to prevent the country being returned to Catholicism. Edward named his cousin Lady Jane Grey as his heir and excluded his half sisters, Mary and Elizabeth. However, this was disputed following Edward's death and Jane was queen for only nine days before Edward's half-sister, Mary, was proclaimed Queen. She reversed Edward's Protestant reforms, which nonetheless became the basis of the Elizabethan Religious Settlement of 1559.

FURTHER HISTORY VIEWABLE ON LINK BELOW:
(Copy & Paste Link into your computor's browser)

http://en.wikipedia.org/wiki/Edward_VI_of_England

ARTIST;

The artist is unknown,but was clearly painted by a good competent hand for such an early work.

CONDITION

THIS FINE EARLY EXAMPLE IS OFFERED FOR SALE IN ITS ORIGINAL DISCOVERED CONDITION WITHOUT HAVING BEEN CLEANED,LINED OR REVARNISHED & IS IN A VERY GOOD STATE FOR THE AGE, REQUIRING NO REAL RESTORATION
AS IT IS BEST LEFT ALONE WITH AGE & PATINA.

DATE

The approximate dateline is estimated to be late 18th Century

FRAME

May not be the original,but has certainly been around the portrait for afew hundred years,and is itself dated 18th century in our opinion.

MEASUREMENTS:
Height : 37 Inches (Including Frame)
Width : 32.5 Inches (Including Frame)
Depth : 3 Inches

RARITY

A RARE PORTRAIT TO FIND FOR SALE,AND ONE OF ONLY AN HANDFUL DATING FROM THIS EARLY PERIOD.

TELEPHONE ENQUIRIES: 07765 856171
HOURS 10AM -10 PM 7 DAYS A WEEK

DELIVERY UK MAINLAND & WORLDWIDE
QUOTES AVAILABLE ON REQUEST

* A RARE PORTRAIT/INVESTMENT OPPORTUNITY

OUR REF: 0447

Ref: 0447
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18TH CENTURY SEASCAPE OIL PAINTING TITLED SMUGGLERS & ATTRIBUTED AFTER STUDIO OF GEORGE MORLAND B1763-D1804 IN BEAUTIFUL GILT & GESSO ORNATE FRAME SIZE: 23.5 X 30.5 INCHES
A fine quality signed oil painting on canvas,believed to have been painted between 1792 and 1800, and after studio of famous listed artist George Morland.

The scene depicts smugglers,having rowed ashore, meeting up with gipsy travellers in a rocky cove,to load their wagon with stolen barrels of drink.

BRIEF HISTORY OF ARTIST:

The artist was born on 26 June 1763 in London, the son of the painter H. R. Morland to whom he was first apprenticed for seven years in 1777. He visited Calais and St-Omer in 1785 by which time he was painting sentimental genre scenes, somewhat in the manner of Boilly. In 1786 he married Anne, the sister of William Ward who engraved sixty-nine of Morland’s pictures and who married Morland’s sister. In the 1790s he turned to rustic genre, but his later years were clouded by reckless self-indulgence. He exhibited intermittently at the SA 1777-91, FS 1775-82, and Royal Academy, London 1773-1804.
He died of a brain fever in London on 29 October 1804.

The painting has recently been professionally cleaned and revarnished and is offered in excellent order.

The original period frame has also been refurbished and finished in a vibrant gold.

We can refer you to study further important information re this painting,which reveals that a identical version which was bequeathed in 1992, can be viewed in the Fitzwilliam Museum at the University of Cambridge in the United Kingdom.

COPY & PASTE LINK BELOW INTO BROWSER:

http://www.fitzmuseum.cam.ac.uk/opac/search/cataloguedetail.html?&priref=3675&_function_=xslt&_limit_=10#1

Also,there is yet another further contempory version, attributed to the artist George Morland,but probably a slightly later copy,which can be seen on display in the National Maritine Museum in London.

COPY & PASTE LINK BELOW INTO BROWSER:

http://www.nmm.ac.uk/collections/explore/object.cfm?ID=BHC1077

The painter George Morland (1763-1804) specialized in images of rough, mostly rural characters. This coastal scene, which has been attributed to him, but is most likely to be a contemporary copy, depicts the popular topic of smuggling. A print, dated 1793, of the same motif (PAH7348) drawn by Morland and engraved by James Ward forms the basis for this identification. Both images show a small boat being unloaded with a few barrels onto the rocky shore in the foreground. A man is moving them onto a horse and cart. Other boats are at sea and perhaps are meant to represent other smugglers. In the late 18th century and early 19th century a scene like this fulfilled the audience’s appetite for romantic and adventurous narratives, also reflected in contemporary literature.

SPECIAL MENTION:
Moorland was also hugely copied and even his originals are widely debated.
He was an alcoholic who forged many pictures himself and had a studio that churned paintings out,which he would later sign.

Our version could be such a painting,seemingly produced by his studio,as the artists name is seen spelt incorrectly by missing a letter in the name,indicating this may well be his work when moorland was drunk,but we shall never know.

THE ARTIST HAS SIGNED OUR VERSION ON THE BARRELL AS SIMPLY " MORLA(N)D " having missed out the capital 'N'.
The first letter 'M' is seen as fairly worn away.

The frame has an early Boots picture framing & regilding label on verso.

PASTE & COPY LINK ON BOOTS HISTORY BELOW
http://www.boots-uk.com/About_Boots/Boots_Heritage/Boots_History.aspx

Also.there is a second label advising to be careful when handling the frame with fingers,indicating the frame had been sent in for re-leafing at their studio.

FULL BIOGRAPHY OF ARTIST /COPY & PASTE LINK
http://en.wikipedia.org/wiki/George_Morland

Measurements to Include Frame:
Height: 23.5 Inches
Width: 30.5 Inches

TELEPHONE ENQUIRIES: 07765 856171

DELIVERY UK MAINLAND & WORLDWIDE
QUOTES ON REQUEST

REF 0366 * AN EXCELLENT INVESTMENT *




Ref: 0366
This item has been sold



 

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