Pair (2) Portraits Gentleman & Lady, William & Rachel Helyar c.1656, Civil War

1656

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...

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...

Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...

Portraits of a Lady, Dorothy and Jane Wood c.1750, Fine Carved Frames By John Theodore Heins (1697-1756) Titan Fine Art present these works, which formed part of a collection of family heirlooms of the Wood family who were from Bracon Ash, Norfolk, since the medieval period. Jane’s daughter Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The paintings descended within the family for around 275 years until recent and are exquisite examples of Georgian portraiture in England and are some of the best works by the artist. The original hand carved and gilded pierced frames are magnificent works of art in their own right. The sitters were two children, out of several, of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). The family is from Norwich, which in 1720 was a city second in importance only to London. Their aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. Dorothy Wood (in the blue dress) was baptised 2nd June 1726 and she died unmarried around 1759. Jane (in the pink dress) gave birth to at least six children during her thirty two-year marriage. She was baptised 14 Oct 1727 at Bracon Ash. Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. According to Payne’s Universal Chronicle or Weekly Gazette the marriage took place on 7th July 1758. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet, who was Sheriff in 1710, and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual and in 1779 he gave the corporation of Norwich 100 pounds, to be disposed of as they might think proper, and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Such discrimination probably lies behind the why their children are included in the registers of both the Anglican church in Tacolneston and the Norwich Catholic church in the 1760s. Jane and Knipe had one son, Thomas, who died at the age of four of a small-pox inoculation in 1762 (memorial stones in the Church of All Saints, Tacolneston) and many daughters who were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) was born at Tacolneston Hall. She came to the convent 30 Sept 1774 and ten days later she went to Dames St Sacrament, Rue St Louis in Paris. Their second daughter, Dorothy (died suddenly of apoplexy 21st Nov 1813), came to the convent 19th July 1777 when she was 16 years old and returned to England 23 March 1779. Frances (baptised 22 Feb 1763) came to the convent 16th April 1772 when she was 9 years old and returned 29th May 1777 – however she returned again to the convent 16th May 1778 and left 15th Oct 1778 to return home again. She later married and her surname became Negri. Another daughter, Jane, is thought to have married Juan Manuel Martinez in 1784. There was also another daughter, Mary. The eldest daughter, Ann, first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She then married on 9th July 1799, Dr William Compton (1733- Clifton 1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton (he had earlier marriages to Caroline and Catherine). William Compton later retired from the Commons and spent many years on the continent acting as Chancellor of Ely by proxy from 1777 for the remainder of his life. The couple were British residents of Posilipo Naples and the marriage was hosted on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a sale that raised worldwide interest in 2023, for £20,160. The document is accompanied by a contemporary manuscript account of the wedding, headed 'Paragraph for the papers, sent to Messrs Coutts & Co with request to have it inserted'. Lord Nelson was a household name in Britain due to his many victories, including the Battle of the Nile against the French Navy in August 1798 – which came before the Battle of Trafalgar in 1805. The document states: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

Titan Fine Art present this striking portrait, which was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill. Gre...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

Expertise by Prof. Davide Dotti. Expertise by Prof. Anna Orlando.

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

Frame in lacquered and gilded wood. The painting is mentioned in Dizionario Biografico degli Italiani Treccani in the biography of the artist.

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Oil on canvas, cm. 65,5 x 51,5...