Charles Jervas Art

Portrait of Frances, Viscountess Scudamore in a Silver Dress and Blue Cloak c.1709-1719 By Charles Jervas (1675-1739) This elegant and graceful portrait, presented by Titan Fine Ar...

Charles Jervas Possibly Arthur, 6th Viscount Irwin (Temple Newsam) Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Cl...

Charles Jervas Possibly Frances Thynne, Lady Worsley 1673-1750 Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Clonli...

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...

Portrait of Henrietta Pelham-Holles (née Godolphin) (1701-1776), Duchess of Newcastle, standing in a wooded landscape with a river beyond, three-q...

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...