Henry Pickering

Henry Pickering, Portrait of a Gentleman

1759

Charles Jervas (1675-1739) Portrait of Joseph Mellish (1675-1733) Oil on canvas; held in a carved period frame Dimensions refer to size of frame. Provenance: Blyth Hall, Nottinghamshire, England; by descent to Sir Andrew Buchanan of Hodsock Priory, Nottinghamshire In 1635 John Mellish, a merchant tailor of London, bought the estate of Blyth in Nottinghamshire. His son, a wealthy Oporto merchant, dying unmarried, left Blyth in 1703 to a cousin, Joseph Mellish, who became one of Newcastle’s earliest and most important political supporters in the county. He went up to Clare College, Cambridge in 1692 and on to the Inner Temple the following year. He married Dorothea Gore, daughter of Sir William Gore...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

Portrait of a Lady circa 1690 Oil on canvas; held in a period carved and gilded frame Charles Beale Junior was the third son of the painter Mary Beal...

Margaret 'Peg' Woffington, was born in Dublin around 1714. Her charm and beauty as a child attracted much attention quickly resulting in her first stage role at the precocious age of 10. Her first important appearance was as Ophelia in 1737 in Dublin, followed by her greatest role, the male part of Sir Harry Windair in Farquhar's Constant Couple, which in 1740 led to her engagement by John Rich...

Follower of Sir Joshua Reynolds (1723 - 1792) A double portrait of a married couple Sir Thomas Tancred (d.1784) and his wife Penelope (d.1837) daughter of Thomas Ashton (or Assheto...

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

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 Reg...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

This portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...

This exquisite portrait of a gentleman depicted in a sumptuous black doublet edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...