Charles Jervas Art
Irish, 1670-1739
Charles Jervas was born in Dublin in 1675 who later lived in England. After moving to England, Jervas became an apprentice to the painter Sir Godfrey Kneller. He later studied drawing in Rome and then returned (c. 1709) to England. Succeeding Kneller, he became court painter to the English kings George I and George II. His home became a centre for literary figures, among them Alexander Pope and Jonathan Swift, whose portraits Jervas painted, in addition to that of George II (1728). He produced a translation of Miguel de Cervantes’s Don Quixote (published posthumously, with his surname spelled Jarvis, in 1742).(Biography provided by Everett Fine Art)
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English 18th century portrait of Henrietta Pelham-Holles, Duchess of Newcastle.
By Charles Jervas
Located in Bath, Somerset
Portrait of Henrietta Pelham-Holles (née Godolphin) (1701-1776), Duchess of Newcastle, standing in a wooded landscape with a river beyond, three-quarter length wearing an ivory silk ...
Category
1720s Old Masters Charles Jervas Art
Materials
Oil, Canvas
Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield
By Charles Jervas
Located in Blackwater, GB
Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783)
by Charles JERVAS (1675-1739)
Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...
Category
18th Century Charles Jervas Art
Materials
Canvas, Oil
Portrait by Charles Jervas of Henrietta Pelham–Holes, Duchess of Newcastle.
By Charles Jervas
Located in Taunton, GB
This charming 17th Century half length portrait by Charles Jervas is believed to be of Henrietta Pelham–Holes, Duchess of Newcastle. The sitter is wearing a blue silk gown.
Circa 1700
Oil on Canvas
27 x 19 1/2 inches
68.5 x 49.5 cm
In a fine gilded carved wood frame.
ABOUT THE SUBJECT:
The sitter of svelte poise depicts grace and style. Stylistically taking the fancy of the moment with clearness and brilliancy in his flesh tints. Jervas work follows the English eighteen century tradition of portrait painting, epitomized by the likes of Kneller and Dahl.
Henrietta "Harriet" Pelham-Holles, Duchess of Newcastle upon Tyne, was the wife of British statesman and prime minister Thomas Pelham-Holles, 1st Duke of Newcastle. She was the daughter of Francis Godolphin, 2nd Earl of Godolphin, and Henrietta Churchill, 2nd Duchess of Marlborough. She was also the granddaughter of Sidney Godolphin, 1st Earl of Godolphin, as well as John Churchill, 1st Duke of Marlborough, and Sarah Churchill...
Category
Early 18th Century Old Masters Charles Jervas Art
Materials
Oil
Charles Jervas, Portrait of Joseph Mellish
By Charles Jervas
Located in London, GB
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...
Category
Early 18th Century Old Masters Charles Jervas Art
Materials
Oil
English 18th century portrait of Henrietta Pelham-Holles, Duchess of Newcastle.
By Charles Jervas
Located in Bath, Somerset
Portrait of Henrietta Pelham-Holles (née Godolphin) (1701-1776), Duchess of Newcastle, standing in a wooded landscape with a river beyond, three-q...
Category
1720s Old Masters Charles Jervas Art
Materials
Canvas, Oil
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CHRISTOFFEL LUBIENIECKI (1659-1729)
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Indistinctly signed “C.......” on a box under the man’s left hand
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Pair (2) Portraits Gentleman & Lady, William & Rachel Helyar c.1656, Civil War
By Robert Walker
Located in London, GB
Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656
Circle of Robert Walker (act. 1637-1656)
These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government.
The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city.
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The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III.
The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band.
The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698.
This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical.
Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...
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17th Century Old Masters Charles Jervas Art
Materials
Canvas, Oil
H 51.97 in W 44.1 in D 1.97 in
Portrait of a Gentleman - British 18th Century Old Master art oil painting
By Lemuel Francis Abbott
Located in London, GB
This superb British Old Master portrait is by noted artist Lemuel Francis Abbott. Painted circa 1790, the composition is a half-length standing portrait of a gentleman gazing to his ...
Category
1790s Old Masters Charles Jervas Art
Materials
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Previously Available Items
English 18th century portrait of Henrietta Pelham-Holles, Duchess of Newcastle.
By Charles Jervas
Located in Bath, Somerset
Portrait of Henrietta Pelham-Holles (née Godolphin) (1701-1776), Duchess of Newcastle, standing in a wooded landscape with a river beyond, three-q...
Category
1720s Old Masters Charles Jervas Art
Materials
Canvas, Oil
Portrait of Hannah Clements as a Shepherdess c.1730; by Charles Jervas
By Charles Jervas
Located in London, GB
This elegant and graceful portrait is said to represent Hannah Clements (1710-1781) nee Gore. Painted by Charles Jervas - who was in 1723 appointed to the post of King’s Painter by George I and in 1725 to George II - it is one of his finest and most impressive examples. Jervas was considered the supreme practitioner of female portraiture in the 1720s and 1730s, and was the foremost successor to Sir Godfrey Kneller after the latter's death in 1723. Presented in an outstanding carved and gilded antique frame, a remarkable work of art in itself.
The sitter is captured in a moment of relaxation in a country landscape. Jervas continued the idiom of Sir Godfrey Kneller, his master, whilst introducing a new ease and suggestion of informality into his portraits. By depicting the sitter within the landscape with sheep Arcadian simplicity is being suggested. This draws from the tradition of pastoral literature and by the early 17th century was already popular in art; all educated individuals were familiar with Latin and Greek pastoral poetry. The mythological world of Arcady was an idyll that the ladies and gentlemen of the Court could inhabit in the guise of shepherds and shepherdesses. The pastoral tradition in literature and plays had been embraced by an aristocratic class since classical times. Life in the country was perceived as peaceful, contemplative and free of worry of hardships, a time to pursue pleasure. To be painted in such a manner created a tangible expression of power and wealth. When the portrait was painted the pastoral was so ingrained that the mere inclusion of such elements suggested Arcadia to the viewer. And this is further emphasised by painting the light to reflect sunset and the suggestion of tranquillity. Of course, the sitter did not live in such a place and this masterful painting was a flight from chaos to a tranquil world.
Hannah Catherine Clements (nee Gore) (1710-1781) was the daughter of Rev. William Gore (and granddaughter of Sir William Gore, 3rd Baronet), and Honora Prittie. She married Nathaniel Clements (1705-1777), an important Irish politician and financial figure, in January 1730. Nathaniel became the main financial manager of the British and Irish Government in Ireland during the period, and was de facto Minister for Finance from 1740 to 1777. He had an extensive property portfolio, including Abbotstown, County Dublin, estates in County Leitrim and County Cavan and was developer of property in Dublin, including part of Henrietta Street where he lived at No. 7 from 1734 to 1757 in what was described as “Parisian luxury”. The couple had six children.
Charles Jervas was born in Clonliske in Kings Country, Ireland in 1675. He received his artistic training in Kneller’s studio and was later, by the 1690’s, Kneller’s assistant. According to Vertue Jervas made small copies of the Raphael cartoons, then at Hampton Court, in about 1698 and sold them to Dr George Clarke of All Souls, Oxford who lent him £50 to embark on the then essential ‘grand tour’ in 1699. Taking in Paris and settling in Rome by 1703, he furthered his artistic training and became a voracious copyist of the old masters. George Vertue noted that he was known as “Carlo Jervasi” and was a “good, engenious painter”. On his return to London in 1709 Tatler (15th April 1709) remarked that he was 'the last great painter Italy has sent us' and noted that he “painted many ladies as shepherdesses and country girls”. The style that he cultivated made him Kneller's natural successor when that artist died in 1723.
In 1727 he married a widow, Penelope Hume, a lady of considerable means (£20,000). In September 1738 he travelled to Italy seeking some reprieve from his asthma, returning in May 1739. He died in November that year and bequeathed £1000 to his friend, Pope, should he outlive his widow: this did not happen as she survived until 1747. The following spring his considerable art collection was sold in 2265 lots in a sale lasting 9 days.
Apart from royalty Jervas gained the patronage of many of the ruling and intellectual elite. He moved in the highest circles of the literary and social world and became an intimate of Sir Robert Walpole and the poet Alexander Pope, to whom he gave drawing lessons.
Jervas’ portrait of Elizabeth Felton, of Playford, Later Countess of Bristol (1677-1741) realised £45,410 at Christies London 11th June 2002, lot 13. His portrait of Lady Barbara North realised £42,050 at Christies London 11th July 2008, lot 55.
Titan Fine Art are pleased to offer this work, which is representative of the artist’s best work.
Provenance: Private collection, Beal House...
Category
18th Century Old Masters Charles Jervas Art
Materials
Canvas, Oil
H 60.24 in W 50.4 in D 3.15 in
Portrait of William Townshend
By Charles Jervas
Located in Bath, Somerset
Attributed to Charles Jervas (Ireland 1675-1739 London) Portrait of William Townshend (1702-1738), three- quarter length, standing in a landscape wearing a red velvet coat...
Category
18th Century and Earlier Old Masters Charles Jervas Art
Materials
Oil
Charles Jervas art for sale on 1stDibs.
Find a wide variety of authentic Charles Jervas art available for sale on 1stDibs. You can also browse by medium to find art by Charles Jervas in canvas, fabric, oil paint and more. Much of the original work by this artist or collective was created during the 18th century and is mostly associated with the Old Masters style. Not every interior allows for large Charles Jervas art, so small editions measuring 41 inches across are available. Customers who are interested in this artist might also find the work of Studio of Sir Peter Lely, Flemish School, 17th Century, and Sir Godfrey Kneller. Charles Jervas art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $19,172 and tops out at $19,172, while the average work can sell for $19,172.