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Henry PickeringHenry Pickering, Portrait of a Gentleman1759
1759
About the Item
Henry Pickering, Portrait of a Gentleman
Oil on canvas; signed and dated 1759; held in a giltwood period frame
Provenance: Lenygon & Morant Ltd. c.1900; Knoedler, October 1912 (Stock No.5452).
Henry Pickering was a fashionable and gifted portrait artist working in the style of the great Thomas Hudson. He travelled to Italy to learn from the old masters and seems to have returned to England, and London, by 1740. By the 1750s he seems to have worked as an itinerant portrait painter travelling largely around Yorkshire, Lancashire, Cheshire and North Wales eventually settling in Manchester in 1759 when he painted this portrait.
He was a highly successful artist and perhaps became so by not competing in the confines of the London art world. The gentry and successful middle classes of the North no doubt appreciated not needing to make the arduous journey South to have their “likeness taken” with Manchester at the heart of the progressing Industrial Revolution.
The sitter in this portrait has been depicted by Pickering as distracted, whilst turning the pages of a book; on closer inspection the volume being identifiable as that of a history of the notable county estates and the page showing depicting an engraved image of one such country house, possibly in Lancashire. This might be an indication as to the background of the sitter, though the imagery is sufficiently obscure to prevent obvious identification. Either way the portrait clearly depicts a handsome, extremely well dressed, young gentleman depicted in the height of fashion for the period. Pickering has painted in detail elements of his clothes, the embroidered coat and buttons being perhaps the most clear. The paint is fresh and the colours vibrant, the overall image being at once charming and striking.
Examples of his work are held in many national museums and galleries in England and Wales.
- Creator:Henry Pickering (1720 - 1770, English)
- Creation Year:1759
- Dimensions:Height: 36.75 in (93.35 cm)Width: 31.5 in (80.01 cm)Depth: 2.5 in (6.35 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:Seller: 20711stDibs: LU115227076672
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Portrait of Lady Anne Tipping née Cheke c.1705, English Aristocratic Collection
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Located in London, GB
Titan Fine Art present this exquisite portrait, that formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. The full provenance of our painting, which hung in The Saloon (see photo), is known from its creation right through to now – an extraordinary fact considering its age.
This exquisite Grand Manner work is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted full length within surroundings that conveyed cultivation and an elite status – a classical porch with a colossal column. The beautiful colour combination of the azure silks of the dress, the mauve curtain and the sumptuous scarlet wrap imbue the portrait with a sense of luxury and emphasise the fact that this lady was a paragon of the wealthy and privileged society that she belonged to, with the means to commission a notable artist. Portrayed without the use of excessive props and jewellery, the artist knew that the sitter’s beauty was more than enough to captivate the audience. The clothing and hairstyle help to date the portrait to circa 1705. For any respectable woman at this time her skin is sheet white which was highly end vogue. A remarkable care is exercised in rendering of the flesh and the treatment of the drapery, with its delicate folds and virtuoso in the art of conveying the texture of the fabrics. The clear fresh palette, bright eyes, and rendering is exquisite.
On the lower right of the portrait is an identifying inscription: 'Lady Tipping / Daughter of Coll. Cheek'. Anne Tipping, née Cheke, was the daughter of Colonel Thomas Cheke (1628-1688) and his wife Letitia, née Russell (1649-1722). Her father was appointed Lieutenant of the Tower of London under King Charles II in 1679 and he held that position until 1687 when James II removed him from office. At the age of 22 Lady Tipping married Sir Thomas Tipping, 1st Bt. (1653-1718) with whom she had three children, Catherine, Letitia, and Thomas. Through her father, Anne inherited the manor of Pyrgom in the village of Havering-atte-Bower, Essex. The house had previously belonged to Henry VIII, and it was here that he made the decision to restore the princesses Mary and Elizabeth to the succession to the throne. In 1724, Anne helped to found the Dame Tipping school in Havering-atte-Bower, which was endowed from her death in 1728 by a legacy in her will. Anne was lucky to have independent means, as her husband led a tumultuous life, dying in debt in Southwark prison. Anne died when she was just forty-eight years of age and is buried at Havering.
Our sitter’s daughter, Letitia Tipping, married Samuel 1st Lord Sandys in 1725. In 1727, she inherited her family’s heirlooms including the possessions of her great uncle Admiral Russell, Earl of Orford. The 1st Earl of Orford (1653-1727) was one of the Immortal Seven who issued the invitation to William III to take the throne. Commander in Chief of the Royal Navy in the Nine Years War, he defeated the French fleet at Barfleur and La Hogue and is an important historic figure.
Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare.
Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone.
The work has been well preserved and cared for over its circa 325 years of age, only requiring the removal of a discoloured varnish recently – now the fine details and the true colours can be appreciated. The work can now be safely and fully enjoyed by future generations.
Presented in a striking ebonised frame with applied carved and pierced gilded foliage, which is a work of art in itself.
Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture at the turn of the seventeenth century. With Van Dyck, Lely and Reynolds, his name has become synonymous with the visual interpretation of British history – not least because he painted almost every person of prominence in forty years of British public life. This reputation was well-deserved, and although Kneller's age embraced many accomplished painters - John Closterman, for example, Jonathan Richardson the Elder, or Michael Dahl- none came close to Kneller in immediate fame, or in such instant association in the popular mind with the exercise of portraiture. Kneller is remembered for having painted ten ruling sovereigns, including every reigning British monarch from King Charles II to King George I.
Provenance
By descent to the sitter's daughter,
Letitia Tipping (1699-1779), wife of Samuel Sandys, 1st Baron Sandys (1695-1770), and by descent to their son,
Edwin Sandys, 2nd Baron Sandys (1726-1797), and by inheritance to his niece,
Mary, Marchioness of Downshire and 1st Baroness Sandys (1764-1836), and by descent to her second son,
Lieutenant-General Arthur Hill, 2nd Baron Sandys (1792-1860), and by inheritance to his younger brother,
Arthur Marcus Sandys, 3rd Baron Sandys (1798-1863), and thence by descent to,
Richard Hill...
Category
18th Century Old Masters Portrait Paintings
Materials
Canvas, Oil
Portrait of Gentleman, Thomas Bruce, Earl of Elgin c.1638 Manor House Provenance
Located in London, GB
Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo).
This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this time gone are the complicated layers of fabrics, and now replaced with understated elegance of plain silk (satin and taffeta were most popular), with only a couple of focal points as accessories. There is an abundance of the accessory par excellence – pearls, and they are worn as a necklace, on her attire, and as earrings; the pear-shaped earrings are called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth.
The portrait is thought to represent Thomas Bruce (1596-1654), Earl of Elgin. The physiognomy and features in our portrait strongly correlate to a portrait of the Earl, by Cornelius Johnson (1593-1661), painted circa 1638, and is held at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to ours and is thought to represent the Earl’s wife, Diana Cecil, 1st Countess of Elgin (c.1603-1654) - it appears to have derived from Cornelius Johnson’s depiction of the Countess circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. There are also other portraits by Johnson of the sitter with very similar facial features to that of the sitter in ours. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson.
Thomas Bruce, 1st Earl of Elgin, was a prominent Scottish nobleman who held titles such as the 3rd Lord Bruce of Kinloss. He resided at Houghton House in Bedfordshire and played a significant role in the political and social landscape of his time. His legacy as an Earl and Lord continues to be remembered in history.
Thomas Bruce, born in Edinburgh in 1599, inherited the Scottish peerage title as the 3rd Lord Bruce of Kinloss at the age of 13 following his brother's untimely death in a duel. The family's estates, including Whorlton Castle and manor, were granted by King James I of England to Thomas's father, with the wardship of Thomas and the estates entrusted to his mother until he reached the age of 21. He maintained a strong connection with King Charles I's court during the Personal Rule, receiving titles of honour and prestigious roles throughout the years.
Thomas Bruce was married twice in his lifetime. His first marriage was to Anne Chichester in 1622. Ann died in 1627, the day after giving birth to their only child, Robert Bruce, who later became the 1st Earl of Ailesbury. On 12 November 1629, Thomas Bruce married Lady Diana Cecil, the daughter of William Cecil and widow of Henry de Vere. The marriage was childless, but Diana brought significant estates with her. Thomas Bruce died on 21 December 1663 at the age of 64.
This oil on panel portrait has been well cared for over its life, which spans almost four centuries. Having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel.
Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare.
Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone.
Presented in a fine period frame.
Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility.
Provenance
Richard Hill...
Category
17th Century Old Masters Portrait Paintings
Materials
Oil, Wood Panel
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