Daniel Hunt Fine Art

Follower of El Greco The Adoration of the Shepherds Oil on canvas The present work bares close similarity to a painting of the same name in the collection of the Museo del Prado, Ma...

Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...

Austrian School, 18th Century A Portrait of a Gentleman, thought to be Moses Diego Lopez Pereira, 1st Baron d’Aguilar, in an elaborate coat and a powdered wig Oil on canvas Provena...

William Huggins (1820 - 1884) A lion and a lioness in a landscape Oil on panel  Signed and dated, lower right: 'Huggins 1847' With gallery and exhibition labels, verso Provenance: ...

William Huggins (1820 - 1884) Two pumas in a landscape Oil on panel Signed and dated, 'W. Huggins 1840' Exhibition and gallery labels, verso Provenance: Ex-Collection, the Master of...

The Bloody-Shouldered Arabian Oil on canvas Inscribed below, 'Bred by Lord Oxford in 1755 & Sire of many famous Racers, including the Duke of Bolton's "Sweepstakes' Description: The...

Thomas Whitcombe (1760 - 1824) A Royal Navy Three-Decker announcing her Departure from the Anchorage at Spithead (1787) Oil on canvas Signed and dated 'Thos Whitcombe. / 1787' lower ...

A Full-Length Portrait of Nicholas I of Russia in a classical setting. Pietro Labruzzi (1739–1805). 1802.    Signed, located and dated lower left: ‘Pietro Labruzzi Roma Pinx Anno 1802.’ Oil on canvas.   Dimensions:  Unframed: 135.7 x 98.5 cm.; 53½ x 38¾ in. Framed: 151.6 x 115.6 cm.; 59¾ x 45½ in. Description:  Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor...

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean ...

Literature: cf. 'Catalogue of Paintings in the Wellington Museum Apsley House' by C.M. Kauffman, revised by Susan Jenkins, English Heritage in association with Paul Holberton publish...

Circle of Emile Jean Horace Vernet (1789-1863) The Capture of the Smalah of Abd el Kader oil on canvas 48 x 55 1/2 in; 121 x 141 cms (including magnificent contemporary carved frame) Provenance Private collection, United States This important and impressive work records the historic skirmish in 1843 between a cavalry unit lead by the duc de Aumale and the Arab chief Abd el Kader during the French military campaign in Algeria. The painting is attributed to Horace Vernet, and relates closely to a major work of the same subject by Vernet now in the Musée de l'Histoire de France in Versailles. The work is a classic example of French Orientalist painting...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

A three-quarter length portrait of Anne, Lady Russell, later Countess of Bedford (1615-1684), in a blue dress. Attributed to Sir Anthony Van Dyck.  Anne C...

Attributed To George Garrard Landscape with animals and figures. oil on canvas

Attributed to Sir Godfrey Kneller (1646 - 1723) A Portrait of Ochius, also called The Passia Ahmed Oil on canvas In a gilded frame Painted circa 1689 following the siege of Belgrad...

Anonymous Chinese Painter Clipper Ship Tin Sing of Hong Kong Oil on Canvas 25 X 32 inches

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...

Jan WYCK (1652-1702, Dutch) The Grey Arabian oil on canvas Signed J Wyck 78 x 88 cm canvas size 108 x 98 cm; inc frame This magnificent work by Jan...

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

Attributed to Gainsborough Dupont (1754 - 1797, British) Portrait of Owen Ormsby, bust-length, in a brown coat, with slightly later inscription identifying the sitter oil on canvas 2...

Auguste RODIN (1840-1917) Seated Nude, Cambodian Dancer c. 1898 - 1900 Pencil and watercolour 11.5 x 9.3 inches; 25 x 20.5 inches, inc. frame Provenance: Christie's South Kensington: Wednesday, November 28, 2007 "It's very simple. My drawings are the key of my art." Rodin was an extraordinary creative artist and a prolific worker. After attending the “Petite École”, he worked in the studio of the ornamentalist Albert-Ernest Carrier-Belleuse, first in Paris, then in Brussels, where his skill in handling decorative subjects fashionable in the 18th century became apparent. His discovery of Michelangelo, during a visit to Italy in 1875-76, was a decisive moment in his career. Rodin would, in turn, break new ground in sculpture, paving the way for 20th-century art, by introducing methods and techniques that were central to his own artistic aesthetics. In 1906, King Sisowath of Cambodia visited France on an official state visit. It was on this visit that Rodin discovered the dancers of the Cambodian Royal Ballet and was inspired to draw and paint them over 150 times. They made a deep impression on the artist, as he confided to Georges Bourdon, in an article for the newspaper Le Figaro on 1 August 1906: “There is an extraordinary beauty, a perfect beauty, about these slow, monotonous dances, which follow the pulsating rhythm of the music… [The Cambodians] have taught me movements I had never come across anywhere before…” Originally seeing them in Paris he left everything suddenly to follow the dancers of the royal ballet to Marseille, from where they would embark on their return to Cambodia. In just one week, he made about one hundred and fifty drawings, re-transcribing or interpreting the ballet poses, with an obvious fascination for the arms and hands of the dancers. These drawings were later highlighted with watercolour, creating coloured harmonies of a rare refinement. The first performance of the Cambodian Royal Ballet took place in the context of the Colonial Exhibition in Marseille. Sisowath 1st had just been crowned King of Cambodia when he undertook the first trip ever to be made by a Cambodian sovereign to France, which had controlled Cambodia since June 1884. This official visit occurred at the height of French colonial expansion. Previously, the Universal Exhibition of 1900 had attracted 48 million visitors! The organisers realised what a tremendous impact this event made on the public, and it was soon adopted as the main tool for colonial propaganda. At the exhibition in Marseilles, the area devoted to Indochina was the largest of the seven sections. When Auguste Rodin met the troupe of dancers for the first time in July 1906, during their brief visit to Paris for an exceptional performance at the Pré Catalan...

Studio of Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches...

Studio of Frans Snyders (Antwerp 1579-1657) A basket of grapes with a halved peach on a ledge oil on panel 18 1/8 x 27 3/8 in. (45.6 x 69.5 cm.) Provena...

John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...

Julius von Blaas (1845-1923) At The Gallops circa 1905 Oil on canvas Signed and dated “Julius von Blass / 1905” (lower left) 110 x 200 cm (140 x 230 cms framed ish) This enormous and grand depiction of horses exercising is an iconic image not only of the edwardien era but also of today’s racing elite. Julius von Blaas was taught by his father Carl von Blaas (1815-1994) and trained in Venice, Florence and Rome. He was also influenced by his celebrated brother Eugen von Blaas...

VIVIANO CODAZZI (c. 1603-1672) A Pair of Architectural Cappriccios Oil on Canvas 24 x 28 7/8 inches (60.8 x 73.2 cms) Provenance: Collection Pérez d...

DUTCH SCHOOL 17TH CENTURY A Goshawk perched on a Falconer's Gloved Hand Oil on Canvas Circa. 1660 29 3/4 x 24 7/8 inches (75.5 x 63 cms) Provenance: Private Collection, Paris

JOHANN MELCHIOR ROOS (Heidelberg 1659 - 1731 Braunschweig) A Brown Bear in a Landscape Oil on Canvas Signed and Dated: "Roos Fecit/ 1719" 18 1/8 ...

Andre Prevot-Valeri Sheep Grazing in a Landscape oil on canvas signed 24 1/4 x 21 1/4 inches, inc. frame André Prévot-Valéri, born in Paris in 1890, died in Granville in 1959, is a ...

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...

Richard Hilder (1813-1852) Pastoral Landscape Oil on Panel 10 X 16 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and occasional ...

Richard Hilder (1813-1852) Pastoral Landscape Oil on Panel 8 3/4 X 10 3/4 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and occa...

Abraham van CUYLENBROCH (1620-1658) Diana With Her Attendants in a Grotto 1651 signed oil on panel 12.2 in x 15.7 inches, inc. frame; 31 x 40 cm Provenance: Sale of Sotheby's Lo...

Richard Hilder (1813-1852) Pair of Landscapes Oil on Panel 9 1/4 X 11 3/4 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and oc...

A beautiful french salon double portrait. We adore the wallpaper in the background and the whole in its frame superchic.

Ramsay Richard Reinagle, RA (British, 1775 – 1862) Spaniel and Pointers, a Pair Circa 1790 Oil on Panel 19 3/4 X 23 1/4 inches, Framed Provenance: Captain Gilbey and by decent Son...

Charles Jones, ARSA, RCA (1836 -1892) Portrait of a Squire wearing a Beaver Top hat with Game Keeper and Hounds Signed and dated, Jones 1851 Oil on Canv...

John Fredrick Herring Jr Pair of Farmyard Scenes Signed and Dated Oil on Canvas 56 X 56 cm John Fredrick Herring Jr was born in Doncaster South Yorkshire around 1820. He was the son of John Fredrick Herring Sr, one of Britain's best equestrian painters of the first half of the 19th century. Herring Jr through his fathers influence was exposed to many wealthy patrons and also the intimacy of his fathers brush work. Herring's farmyard style that is depicted in the paintings above is iconic and most desirable to any collector of 19th century English sporting art.

Within the context of British sporting art, one has to put a Herring on this scale as a jewel in the crown. Coming from a collection formed in the 1930s, this is its first change of ...

Imogen Mary Collier (1873-1952) Portrait of Jerry and Dot Circa. 1895-1900 Oil on Canvas 49 X 42.5 Imogen Mary Collier (1873-1952) was born in 1873 at Whitchurch, Devon, England. She was the daughter of Mortimer John Collier...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

Jan Wyck (1645 - 1702) William III at the Battle of the Boyne Oil on Canvas 33 1/4 X 28 inches framed Jan Wyck was born in Haarlem, the son and pupil, of the painter Thomas (van) Wyck (c.1616–1677). Wyck was renowned in England for being a specialist at painting horses in battle and hunting scenes. He brought the Dutch equestrian portrait genre to England. His oil studies of individual horses are perhaps his most original contribution to the history of English art. This painting by Wyck depicts the Battle of the Boyne, in 1690 with William III proudly mounted on his horse. The battle was part of the Williamite war in Ireland that spanned three years between the forces of the deposed King James II of England...

Attributed to William Marlow (English, 1740-1813) Elegant Figures alongside the River Wye 1790 131 x 152 cm, inc. frame This quiet bucolic scene shows figur...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower r...

John Opie RA (1761-1807, English) c. 1802 Oil on canvas Canvas dimensions 36 x 32 inches Framed dimensions 46.5 x 43.25 inches Original gilded period frame. John Opie was a Corni...

Portrait of Girolamo Frescobaldi (1583-1643) Attributed to Antiveduto Della Grammatica (1571-1626) Oil on Canvas 1605-1609 Framed in a Nineteenth Century gild and composite frame 44....

Sir Alfred Munnings R.A. (1878 - 1959) 'Favourite Hound' Oil on Wood Framed 98 x 74 cm Sir Alfred Munnings R.A. was known as one of England's finest painters of animals and as an ou...

Charles Augustus Henry LUTYENS (1829 – 1915, British) On the Scent c.1880 Unframed 50 x 84 inches Framed 64 x 98 inches Oil on Canvas Signed Provenance: Possibly commissioned by George William Coventry, 9th Earl of Coventry (1838-1930); thence by family descent; Croome Court House Sale, Worcestershire 1948 Lord Coventry was a keen huntsman having founded the North Cotswold Hunt in 1867 and in 1882 The Croome. Besides founding two Hunts, he also held the unique distinction of owning racehorses that won two Grand Nationals in consecutive years. Daphne Moore, the hunting correspondent writing about the Croome Hounds c.1950, emphasised the influence of Rambler as a perfect type of hound. ‘Who could have dreamed that in 1949 well-bred hounds in almost every kennel in England would have at least a trace of Rambler’s blood in their veins?’ … to the hound man The Croome and the name Coventry immediately recalls Rambler. Anyone who has seen his portrait by Lutyens, will remember him as being the perfect type of hound for any country…’ Charles Lutyens the artist spent his early adult life in the Army, joining the 20th foot and siled with them in 1850 to serve in Canada. In 1857 he left the army to take up life as a professional artist. He based himself at Onslow Square...

Attributed to Pier Francesco MOLA, called Il TICINESE (1612-1666) Rest on the Flight into Egypt oil on canvas 25.5 x 27 inches including ...

John Alfred WHEELER (1821-1903) A Bay Hunter oil on canvas 31 x 41 inches, inc. frame Provenance: The Parker Gallery, London John Alfred Wheeler was born in Andoversford, Gloucestershire in 1821. He was the founder of a dynasty of painters which included his sons Alfred Wheeler (1851-1932) and James Thomas Wheeler (1849-1888) and his grandsons John Frederick Wheeler and Walter Herbert Wheeler who were all skilled artists. He initially served in the army and lived in Cheltenham after being discharged. He specialised in portraits of dogs and horses as well as sporting scenes. He also produced a number of military paintings featuring horses. By 1877, he had moved to Hanwell, London where he achieved considerable success earning commissions from wealthy patrons such as the Duke of Portland...

Claude-Lorraine Ferneley Sir Richard Sutton's Most Famous Hunter Hotspur c.1840 24 X 28.5 inches framed A genuinely famous hunter! Even mention in...

Gerard SOEST (1600 - 1681) Portrait of a Young Boy oil on canvas 35.5 x 30.5 inches inc. frame Gerard Soest (circa 1600 – 11 February 1681), also known as Gerald Soest, was a portra...

William LEE-HANKEY (1869-1952, British) At the Fish Market 1904 pencil, watercolor, bodycolor w/gum arabic 20 x 20 inches, inc. frame Provenance: The Swan Gallery...

Daniel CLOWES (1774-1829) after George Stubbs Mares and Foals in a Landscape oil on canvas 29 x 33 inches, inc.frame Daniel Clowes lived and worked in Chester all his life and ...

The pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton...

Thomas Smith of Derby Matlock High-Torr Landscape Oil on canvas 27 x 34.5 inches unframed 34 x 41.5 inches including frame Thomas Smith of Derby (died 12 September 1767) was an Engl...

Charles TOWNE (1763-1840, English) Hunter and Huntsman 1790 Oil on canvas Signed & dated Framed 39 x 55 inches Charles Towne was an English painter of l...