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Welsh School, Portrait of the two children of Mr and Mrs Oliver Jones, 1700s

$14,809.40

£10,950

€12,964.03

CA$20,475.29

A$22,935.77

CHF 12,046.69

MX$278,891.55

NOK 152,550.48

SEK 144,811.42

DKK 96,755.59

About the Item

Portrait of the two children of Mr and Mrs Oliver Jones, full-length, one wearing blue, the other red, holding a bow and a spear. Oil on canvas Unframed: 126.2 x 102 cm Framed: 130.5 x 107.4 cm Approx weight: 5 KG THE PROPERTY OF SIR BROOKE BOOTHBY, 15TH BT., REMOVED FROM FONMON CASTLE, GLAMORGAN Provenance Probably by descent in the Jones family, Fonmon Castle, Glamorgan; Thence by descent in the Boothby family at Fonmon Castle, Glamorgan, to the present owner. Castle history: The first named owner of the land that Fonmon stands on was Llewellyn ap Myryg. The keep, which exists today, and defensive ditches were built by the St Johns in 1180. It was originally built to keep people out; however, it seems to have quickly become an admin centre, then a hunting lodge. In 1290 Sir William St John II was named as ‘lord of Funnemunne’. He enclosed the Keep within a curtain wall, forming a four-sided court. Part of the wall survives as the tallest wall of the Great Hall. Four square towers were added. At this point Fonmon looked like a child’s drawing of a castle. In the fifteenth century, John de St John IV of Fonmon served Richard II and the Lancastrian kings. He was made Sheriff of Glamorgan and Steward of Gower. He commanded Neath Castle against Owain Glyn Dŵr. Towards the end of the century, the St John family moved to Bletsloe, never to return. Administration continued from Fonmon for the next 200 years and it was rented to minor members of the family until the estate was put up for sale in 1656. It was used as a mustering point before the Battle of St Fagan’s in the English Civil War. Colonel Philip Jones, the richest man in Wales bought Fonmon, Llancadle and Penmark in 1658 after 2 years of negotiation, for £11,083 1s. 4d. He began a phase of building, turning the castle from a farm into a grand home. The preachers Charles and John Wesley were frequent visitors to Fonmon. The widow of Robert Jones II was very religious, and both Wesleys became friends of the family and preached here, often crossing the channel from Devon to do so. Robert Jones III inherited the castle from his mother in the 1730s and spent a great deal of money on turning it into a party palace. People came from far and wide to celebrate at Fonmon, to see and be seen. He was responsible for the Rococo decorations, grand staircase, and open-plan Great Hall. He eventually fled to France to escape his debtors. His son, Robert Jones VI rather neglected Fonmon. It passed down through generations of the family. Oliver Thomas Jones rose to a high rank in both the Army and the Navy, which is quite unusual. One of the men of the family was caught up in the French revolution. Another lost a leg in battle. Robert Oliver Jones, a successful magistrate, eventually inherited the castle and brought Fonmon back into a decent state. The last phases of building happened in Victorian times. The bar area of the tearoom was added as was the front porch and grand front door. When the heir to the castle was killed in The Great War, it passed into the Visby then the Boothby families. Lady Anne and Sir Hugo passed the castle on to their son, Sir Brooke Boothby who brought up his family here. The Vale Show was based at Fonmon, and it was a successful wedding venue. In 2019 the castle was sold to Nigel Ford. He fixed the leaks, installed a biofuel boiler and made sure that the structure was sound. He lives here three days a week. It became a visitor attraction and events venue in 2019 and is opening for weddings and evening events again in 2024. Condition: Painting is pre-owned, painting has age-related natural crackling, minor signs of usage, please see pictures, there area few blemishes shown in pictures, otherwise good condition overall.

Dimensions:

Height: 49.69 in (126.2 cm)Width: 40.16 in (102 cm)Depth: 1.19 in (3 cm)

Materials and Techniques:

Canvas,Oiled

Place of Origin:

United Kingdom

Period:

1700-1709

Date of Manufacture:

1700s

Condition:

Wear consistent with age and use.

Seller Location:

Braintree, GB

Antique Early 17th Century European Paintings

Materials

Copper

Antique Portrait of Anne of Denmark, attributed to a Follower of Paul van Somer

$2,637

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17th century oil on copper portrait - St. Jerome

Located in Braintree, GB

In this antique 17th-century oil painting on copper, we see St. Jerome, encased within an intricately adorned wooden frame. Jerome assumes the role of a penitent, deeply engrossed in...

Category

Antique 17th Century European Paintings

Materials

Copper

By Sir Godfrey Kneller

Located in Seaford, GB

Circle of Sir Godfrey Kneller, Mrs Voss, and Catherine Kneller, oil on paper laid to wood panel Overview This exceptional Baroque portrait artwork, the circle of Sir Godfrey Kneller, is an oil on canvas painting from the early 18th century. The painting, laid onto a panel, represents a compelling historical piece linked to Mrs. Voss, who was active circa 1685-1690 and recognized as the mistress of Sir Godfrey Kneller and the mother of Catherine (Agnes) Huckle. Key Details: Sir Godfrey Kneller, Mrs Voss and Catherine Kneller oil canvas Medium: Oil on paper, laid onto panel Period: Early 18th century Condition: Unframed oil panel Dimensions: Height - 28 inches, Width - 34 inches Historical Connection: A larger version of this artwork is held in the Kingston Lacy Estate, Dorset Artist Influence: Connected to the circle of Sir Godfrey Kneller, one of the most influential portrait artists of the Baroque period. This Old Master portrait painting is a fine example of Kneller’s portrait style, making it a sought-after piece for collectors, historians, and art enthusiasts looking to buy antique paintings in Sussex or the UK. About Sir Godfrey Kneller (1646-1723) Sir Godfrey Kneller (born Gottfried Kniller) was a renowned Baroque portrait painter of Anglo-German descent, widely considered one of the greatest portraitists of the late 17th and early 18th centuries. His influence on English portraiture was significant, and his works remain highly collectable today. 1. Early Life and Training Birth: August 8, 1646, Lübeck, Germany Parents: Zacharias Kniller (merchant) and Lucia Kniller Education: Studied painting in Lübeck Trained in Amsterdam under Ferdinand Bol (a student of Rembrandt) Influenced by the Dutch Golden Age art movement During his training, Kneller adopted techniques from Rembrandt and Bol, shaping his mastery of light, shadow, and lifelike portraiture. 2. Italian Influence and Artistic Growth Sir Godfrey Kneller Mrs Voss and Catherine Kneller oil canvas Traveled to Italy in the early 1670s to study Titian, Veronese, and Caravaggio His exposure to Italian Renaissance and Baroque art deepened his understanding of color theory, composition, and grand portraiture After returning to Northern Europe, he briefly worked in Hamburg before moving to England in 1676 3. Kneller’s Rise in England and Royal Patronage His talent quickly gained recognition among the English aristocracy and royalty In 1680, he was appointed Principal Painter to King Charles II Over his career, Kneller painted portraits of five English and British monarchs: King Charles II King James II King William III & Queen Mary II Queen Anne King George I His iconic portrait paintings continue to serve as historical records of British nobility, making his works highly valuable in the art market. 4. Notable Works and Contributions Kit-Cat Club Portraits: A famous series of 48 portraits of prominent literary, political, and cultural figures of the time. Developed the grand yet lifelike Baroque portrait style, balancing realism with nobility. His influence on later English portrait painters, such as Thomas Gainsborough and Joshua Reynolds, was profound. 5. Kneller’s Honors and Legacy Knighted by King William III in 1692 Created a Baronet by King George I in 1715 Naturalized British Citizen in 1711 Passed away on October 19, 1723, and was buried in Twickenham, England. His works remain highly collectible, sought after by art collectors, historians, and museums worldwide. Historical & Artistic Significance of the Painting This early 18th-century oil portrait attributed to Kneller’s circle is an outstanding example of his influence on Baroque portraiture. The depiction of Mrs. Voss and her connection to Catherine (Agnes) Huckle adds historical depth and collector value. 1. Artistic Style and Features Detailed brushwork characteristic of Kneller’s school Rich color palette influenced by Titian and Rembrandt Noble posturing typical of 17th-18th century aristocratic portraiture Use of light and shadow to enhance depth and realism 2. Collector’s Appeal & Investment Potential Highly sought-after Old Master artwork with documented provenance Strong appeal to art collectors, historians, and museums Valuable addition to Baroque art collections Investment-worthy due to high demand for Kneller’s works in auctions and private sales 3. Comparison to the Kingston Lacy Version A much larger version of this painting exists in the Kingston Lacy Estate, Dorset This smaller panel version offers collectors a unique opportunity to own a historically significant work at a more accessible scale and price Final Thoughts The circle of Godfrey Kneller oil on canvas painting featuring Mrs. Voss and Catherine (Agnes) Huckle is an important historical artwork. Whether you are an art collector, investor, or historian, this painting represents a rare opportunity to acquire a piece of Baroque portraiture. Why This Painting is a Must-Have for Collectors: Authentic Old Master Portrait from the School of Kneller Strong Historical and Artistic Value Investment Potential in the Art Market Connected to the Kingston Lacy Collection Ideal for Collectors of English Baroque Portraits...

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