A mid-twentieth century faux onyx column lamp, set upon a circular plinth with brass socle. Stamped Tommaso Barbi.

Dimensions refer to period parts only and exclude brass light bulb fitting.

Wired to UK Standards. This lamp can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A late eighteenth century Louis XVI Period mahogany commode, the gris Sainte Anne marble top above three short and two long drawers with rectangular brass handles and lock escutcheon, flanked by fluted column ends, all raised on turned tapering legs.

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Oil on canvas; held in an ebonsied period style frame.

Charles II’s propagandists cast Cromwell as a brutal despot whereas critics now tend to focus on his Puritan fundamentalism. This, apparently, was a dour, austere man – who censored playwrights, disdained culture and showed no interest in the visual arts. Certainly he had no official painter and portraits of Cromwell are few and far between. One of the most famous is by Robert Walker, from 1649, in the National Portrait Gallery: the image clearly inspired by the poses in aristocratic portraits by van Dyck, who had died before the outbreak of Civil War in 1641. Insofar as it existed at all, Cromwellian portraiture, it seems, was merely an extension of portraiture under Charles I.

Peter Lely and miniaturist Samuel Cooper also depicted him, but Cromwell’s attitude to his own image is summed up by his request to “use all your skill to paint my picture truly like me and not flatter me at all. Remark all these ruffness, pimples, warts and everything as you see me”. Cooper duly captured him as such, as did Lely, in sober black armour, without a hint of decoration and with the receding hairline and blotchy cheeks – not to mention warts. It has been pointed out that plainness had a political purpose, presenting Cromwell as a “sober, honest alternative to the tradition of royal vanity, excess and arrogance he’d just replaced”.

With the Restoration of the monarchy in 1660 such images were scorned and despised. Lely however was recognised as the most outstanding painter of the time and was embraced by the new King as his principal painter. Diana Dethloff states that during the Restoration “Lely dominated court portraiture. Other artists’ work was often judged in the context of his or Van Dyck’s, with many contemporaries regarding Lely as the latter’s natural successor, especially from the way Lely presented himself in his self-portraits, the lavish lifestyle he adopted, and the way he ran his studio.”

Lely’s portrait had an ornamental cartouche and subsequent versions simplified this as in the portrait here. It was a popular image and Lely together with his studio executed a number of versions which often went to diplomats and other political functionaries. The example presented here has been in a private collection for at least a hundred years and is perhaps one of the best examples to emerge in recent times.

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A pair of late nineteenth century polychrome Faience pottery vases decorated with floral and foliate arabesques.

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Oil on canvas; signed lower right; held in original period carved giltwood frame.

Provenance:

By family descent until sold in 2016.

Exhibited: Culzean Castle, loaned to The National Trust, Scotland (1984-1998)

Subsequently in a Private Collection, Somerset, England.

The sitter was the son of William Cuninghame, 12th Earl of Glencairn and Lady Henrietta Stewart. He succeeded his father to the title as 13th Earl of Glencairn and as Governor of Dumbarton Castle in 1734. On 6th August 1744, he married Elizabeth, daughter of Hugh Maguire of Drumdow, Ayrshire, with whom he had two surviving sons and a daughter. He joined the army as an ensign (1729) and gained the rank of Lieutenant-Colonel (1747) in the service of the 9th Foot and later rose to the rank of Major General (1770).

Glencairn stands beside a substantial globe which together with the ship in the background suggests travelling across Europe to the Americas and the West Indies with his regiment probably during the War of the Spanish Succession.

Bartholomew Dandridge studied at Sir Godfrey Kneller’s academy of painting and later attended the St Martin’s Lane Academy following its foundation in 1720. For more than four decades he ran a successful and fashionable portrait practice in London; the highlight of his career was being in 1732 when he was commissioned by Lord Barington to paint Frederick, Prince of Wales, on horseback. In 1731, Dandridge acquired the London studio and house of Sir Godfrey Kneller. His last recorded work was in 1754 suggesting he died around that time.

","2849",[234],{"_86":230,"_88":231,"_90":232,"_92":233,"_93":65},[228,229],"2022-11-28T22:11:38","2026-06-10T13:34:43",{"_49":165,"_53":166,"_51":167},{"_49":162,"_53":163,"_51":164},"Circa 1730 England","55 inches (139.75 cm)","45 inches (114.5 cm)","3 inches (7.5 cm)",{"_98":235,"_100":236,"_102":237,"_90":104,"_88":104},"https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-51-100x100.jpg 100w","Bartholomew Dandridge (1691-1755) Portrait of William Cuninghame",21875,"four-early-19th-century-regency-period-painted-side-chairs","Four Early 19th Century Regency Period Painted Side Chairs","https://cms.timothylangston.com/shop/furniture/seating/four-early-19th-century-regency-period-painted-side-chairs/","/shop/furniture/seating/four-early-19th-century-regency-period-painted-side-chairs/","

A set of four early nineteenth century cream painted Regency Period side chairs, with panels of faux marble, caned seats and turned front legs.

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Between 1766-67, Sir William Hamilton commissioned an engraved four-volume folio illustrating his own collection of classical antiquities. Antiquités Etrusques, Greques et Romain Tirée du Cabinet de M. Hamilton was published in Naples, with text by Baron d’Hancarviile (Pierre-Francois Hugues) who attempted to create a stylistic chronology of ancient vase painting. Following the folio’s publication, Hamilton sold the collection to the British Museum.

The portfolios were created as large folio editions for aristocratic libraries and wealthy collectors. Smaller engraved editions were published for sale to the public and were important academic references for scholars and artisans. Hamilton sent engravings to Josiah Wedgwood to be used as designs in the Wedgwood workshop, the most famous being the Portland Vase in black basalt with white relief decoration. The Hamilton portfolios introduced images of classical antiquity on the Continent to the English public, influencing the decorative arts and exemplifying the neo-classical aesthetic.

Dimensions listed refer to outer size of frame.

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An eighteenth century blue and white Deflt pottery vase and cover, with lion finial cover and foliate decoration throughout.

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Six blue and white glazed porcelain plates in the Chinese Export taste.

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A pair of nineteenth century Chinese Export porcelain vases and covers, in blue, white and polychrome glazes with gilding, decorated with cartouches of stylised trees, flowers and foliage.

Repair to the body of one vase

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A blue and white glazed porcelain vase of baluster form, decorated with a figure, bird, trees, flowers and foliage in a fenced garden. With Kangxi characters to the underside.

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A mid-century glass vase lamp of extended bottle form with striated decoration imitating agate.

Dimensions refer to glass part only.

Wired to UK Standards. This lamp can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A mid-twentieth coffee-coloured glass bottle vase lamp, the body with striated decoration imitating agate.

Dimensions refer to glass part only.

Wired to UK standards. This lamp can be rewired to all international specifications inclusive of price.

Shades available to purchase separately.

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A blue and white glazed charger decorated with a a central scene depicting a peacock, with foliate borders.

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A mid-twentieth century metal table lamp, taking the form of a palm tree, with stylised brass and steel leaves, all set upon a square gilt brass plinth.

Dimensions exclude lightbulb holder.

Wired to UK Standards. This lamp can be rewired to all international specifications.

Shades available to purchase separately.

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A mid-century table lamp, in the form of a palm tree, the stylised foliage in brass and steel, all set upon a square gilt metal plinth base.

Dimensions list lamp to top of central stem, excluding modern lightbulb holder.

Wired to UK Standards. This lamp can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A late eighteenth century George III Period pine breakfront bookcase, with cornice, above four glazed doors with geometric astragal window bars, the lower section with panelled doors, all set upon a block plinth.

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https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-05-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-05-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-05-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-05-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-05-100x100.jpg 100w","Pine Bookcase","https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-03-768x768.jpg 768w, 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https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-01-100x100.jpg 100w",21935,"four-rare-late-18th-century-chinese-export-gouache-wallpaper-panels","Four Rare Late 18th Century Chinese Export Gouache Wallpaper Panels","https://cms.timothylangston.com/shop/pictures/still-life/four-rare-late-18th-century-chinese-export-gouache-wallpaper-panels/","/shop/pictures/still-life/four-rare-late-18th-century-chinese-export-gouache-wallpaper-panels/","

Four rare late eighteenth century wallpaper panels, painted in gouache, depicting floral hanging baskets and butterflies on a powder blue ground.

Housed in faux bamboo frames.

Dimensions refer to outer size of frames.

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A mid-eighteenth century Louis XV Period walnut commode of serpentine form. with panelled inlay, brass handles and escutcheons, all raised on cabriole shaped feet.

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https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-33-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/11/3902-31-100x100.jpg 100w",22043,"late-18th-century-george-iii-period-mahogany-writing-table","Late 18th Century George III Period Mahogany Writing Table","https://cms.timothylangston.com/shop/furniture/tables-desks/late-18th-century-george-iii-period-mahogany-writing-table/","/shop/furniture/tables-desks/late-18th-century-george-iii-period-mahogany-writing-table/","

A late eighteenth century George III Sheraton Period mahogany writing table, the overhanging top with tooled green leather above a frieze of three drawers on both sides with the original rectangular brass handles, all raised upon square tapering legs and terminating in brass castors.

Provenance: Grosvenor House Art & Antiques Fair, 1964, Purchased from Norman Adams Ltd.

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A pair of blue and white glazed hexagonal porcelain tea canisters, decorated with figurative scenes throughout. Mounted as lamps on giltwood bases.

Dimensions refer to porcelain and giltwood parts only.

Wired to UK Standards. This pair of lamps can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A fine mid-nineteenth century Black Forest hawk, naturalistically carved in oak with glass eyes inset.

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A pair of nineteenth century side chairs in the Louis XV Rococo manner, with foliate carving throughout, all polychrome painted, the cartouche backs and seats upholstered, all set upon cabriole legs.

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Century Louis XVI Period Mahogany Easel","https://cms.timothylangston.com/shop/objects/miscellaneous/late-18th-century-louis-xvi-period-mahogany-easel/","/shop/objects/miscellaneous/late-18th-century-louis-xvi-period-mahogany-easel/","

A fine late eighteenth century Louis XVI Period mahogany easel, the triangular frame with adjustable picture rest and back support.

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https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-01-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/12/3907-03-100x100.jpg 100w",22079,"pair-of-meiji-period-painted-barrel-seats","Pair of Meiji Period Painted Barrel Seats","https://cms.timothylangston.com/shop/furniture/seating/pair-of-meiji-period-painted-barrel-seats/","/shop/furniture/seating/pair-of-meiji-period-painted-barrel-seats/","

An unusual pair of late nineteenth century Meiji Period painted wooden barrel seats, of octagonal form, decorated with cartouches depicting birds, blossoms and foliage upon a rich emerald green ground.

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A late nineteenth century Sorrento yew and burr yew wood table, of octagonal form, inlaid throughout in the Moorish taste.

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A late eighteenth century blue and white glazed Delft vase of generous form, decorated with birds, flowers foliage as sea shells. Now mounted with a giltwood base and cap as a table lamp.

Dimensions refer to ceramic and gilded parts only.

Wired to UK Standards. This lamp can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A late eighteenth century Louis XVI Period bouillotte table, the circular marble top with pierced gallery above a parquetry frieze with two drawers and two candle slides, all raised on inlaid square tapering legs terminating in the original brass sabots.

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A fine late eighteenth century Louis XVI Period figured mahogany bureau plat, the overhanging dark red leather top and side slides with tooled decorated including bees and framed with a gilt brass border, set above the usual configuration of long and short drawers, the square tapering legs with ormolu collars and castors. The rear side also finished.

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A pair of late nineteenth century black lacquer vases, the bodies with gilded figurative decoration throughout. Set upon carved ebonised bases. Now mounted as a pair of table lamps.

Dimensions refer to lacquer and wooden parts only.

Wired to UK Standards. This pair of lamps can be converted to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A mid-eighteenth century Louis XV Period small scale two drawer fruitwood commode, with marble top, all raised on cabriole legs.

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A late nineteenth century William & Mary Revival settee, covered throughout with petit point and gros point needlework, all raised on turned walnut legs with turned and carved stretchers of the same.

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An early nineteenth century Masons Ironstone porcelain trumpet vase, decorated in the Chinese Imari taste, now mounted as a table lamp.

Dimensions refer to porcelain vase only.

Wired to UK Standards. This lamp can be rewired to all international specifications inclusive of listed price.

Shades available to purchase separately.

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A mid-nineteenth century burr elm pedestal desk, the tooled black leather writing surface above a configuration of one long and eight short drawers, all with finely cast brass handles and Bramah locks.

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A late nineteenth century octagonal occasional table, with geometric inlay throughout, the sides with panelling and all raised on horse shoe arches.

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A pair of early nineteenth century Regency Period ebonised side chairs with turned backs, legs and stretchers, with rush seats.

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