A Pair of Mid-century painted cast iron garden armchairs in the Chinese Chippendale Cockpen manner, The backs and arms of cracked- ice form, supported upon legs topped with C-scroll motifs.

This unusual pair of cast iron armchairs dates to the middle of the 20th Century. The 'cockpen' chair relates entirely to Chinese furniture designs of the 17th and 18th Centuries and the form was taken up by Thomas Chippendale (1718-1779). His publication, The Gentleman and Cabinet Maker's Director, clearly shows the designs from which these chairs are derived.

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A Pair of Mid-century painted cast iron garden armchairs in the Chinese Chippendale Cockpen manner, The backs and arms of cracked- ice form, supported upon legs topped with C-scroll motifs.

This unusual pair of cast iron armchairs dates to the middle of the 20th Century. The ‘cockpen’ chair relates entirely to Chinese furniture designs of the 17th and 18th Centuries and the form was taken up by Thomas Chippendale (1718-1779). His publication, The Gentleman and Cabinet Maker’s Director, clearly shows the designs from which these chairs are derived.

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A Mid-20th Century silvered ice bucket or wine cooler, the corrugated body with square drop handles to either side

","0307",[118],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[110,111],"2026-06-10T13:50:16",{"_49":115,"_53":116,"_51":117},{"_49":112,"_53":113,"_51":114},17,"Objects","objects",36,"Metalware","metal-ware",{"_93":119,"_95":120,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/575815.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/575815.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/575815-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/575815-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/575815-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/575815-100x100.jpg 100w",2168,"an-18th-century-adam-giltwood-oval-mirror","An 18th Century Adam Giltwood Oval Mirror","https://cms.timothylangston.com/shop/furniture/mirrors/an-18th-century-adam-giltwood-oval-mirror/","/shop/furniture/mirrors/an-18th-century-adam-giltwood-oval-mirror/","

A late 18th Century carved giltwood mirror in the Adam taste, the gadrooned oval frame surrounded by carved floral details, a Classical urn, stylised acanthus and foliate carving and rams heads, all linked by chains with gilded drops.

This mirror belongs to the early part of the English Neo-Classical Period. Furniture from this period has a lightness of form and this is displayed in the slender mirror frame and it's surrounding ornament.

Classical motifs here deployed include husks, an urn, acanthus leaves and rams heads, the latter very much a motif used in the designs of the important architect Robert Adam (1728-92).

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Classical motifs here deployed include husks, an urn, acanthus leaves and rams heads, the latter very much a motif used in the designs of the important architect Robert Adam (1728-92).

","0308",[138],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[133,134],"2019-06-13T15:59:21",{"_49":81,"_53":82,"_51":83},{"_49":135,"_53":136,"_51":137},23,"Antique Mirrors","mirrors",{"_93":139,"_95":140,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/578339.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/578339.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578339-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578339-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578339-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578339-100x100.jpg 100w",2169,"a-19th-century-ormolu-medici-lion","A 19th Century Ormolu Medici Lion","https://cms.timothylangston.com/shop/objects/metal-ware/a-19th-century-ormolu-medici-lion/","/shop/objects/metal-ware/a-19th-century-ormolu-medici-lion/","

A late nineteenth century finely cast and chased gilt metal Medici lion in the Classical manner, set upon an onyx plinth.

The Medici lions аre а pair оf marble sculptures, which, since 1789 hаve been displayed аt the Loggia dei Lanzi in Florence. One of the pair іs оf ancient origin; the оther is а 16th-century pendant.

A pair оf lions wаs required by Ferdinando I de' Medici, Grand Duke оf Tuscany, whо acquired the Villa Medici іn 1576. Ferdinando sought majestic ornaments fоr the villa's garden staircase, the Loggia dei Leoni. The fіrst lion originates frоm а 2nd-century A.D. and is made from a marble, first mentioned іn 1594 by the sculptor Flaminio Vacca, by whіch tіme іt wаs already іn the collection оf Ferdinando. The second lion wаs created аnd signed by Vacca, аlsо іn marble, аs а pair tо the ancient sculpture in the last quarter of the sixteenth century. The pair was іn place аt the Loggia dei Leoni іn 1598. The second lion wаs carved out of а capital thаt hаd cоme frоm the Temple оf Jupiter Optimus Maximus.

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A late nineteenth century finely cast and chased gilt metal Medici lion in the Classical manner, set upon an onyx plinth.

A pair оf lions wаs required by Ferdinando I de’ Medici, Grand Duke оf Tuscany, whо acquired the Villa Medici іn 1576. Ferdinando sought majestic ornaments fоr the villa’s garden staircase, the Loggia dei Leoni. The fіrst lion originates frоm а 2nd-century A.D. and is made from a marble, first mentioned іn 1594 by the sculptor Flaminio Vacca, by whіch tіme іt wаs already іn the collection оf Ferdinando. The second lion wаs created аnd signed by Vacca, аlsо іn marble, аs а pair tо the ancient sculpture in the last quarter of the sixteenth century. The pair was іn place аt the Loggia dei Leoni іn 1598. The second lion wаs carved out of а capital thаt hаd cоme frоm the Temple оf Jupiter Optimus Maximus.

","0309",[155],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[153,154],"2019-06-13T15:59:22",{"_49":115,"_53":116,"_51":117},{"_49":112,"_53":113,"_51":114},{"_93":156,"_95":157,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/578350.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/578350.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578350-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578350-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578350-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578350-100x100.jpg 100w",2170,"a-pair-of-20th-century-low-end-tables","A Pair of 20th Century Low End Tables","https://cms.timothylangston.com/shop/furniture/tables-desks/a-pair-of-20th-century-low-end-tables/","/shop/furniture/tables-desks/a-pair-of-20th-century-low-end-tables/","

A Pair of square brass low end tables, having fluted legs with double concave stretchers, with smoked glass tops

","0310",[174],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[169,170],"2026-06-10T13:50:05",{"_49":81,"_53":82,"_51":83},{"_49":171,"_53":172,"_51":173},27,"Tables & Desks","tables-desks",{"_93":175,"_95":176,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/578356.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/578356.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578356-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578356-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578356-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578356-100x100.jpg 100w",2171,"an-unusually-small-late-18th-century-mahogany-sofa-table","An Unusually Small Late 18th Century Mahogany Sofa Table","https://cms.timothylangston.com/shop/furniture/tables-desks/an-unusually-small-late-18th-century-mahogany-sofa-table/","/shop/furniture/tables-desks/an-unusually-small-late-18th-century-mahogany-sofa-table/","

A George III Period mahogany sofa table of unusually small scale, the finely figured cross-banded top above two drawers, the whole raised on send supports with splayed legs terminating in brass lion’s paw castors

","0311",[190,191],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[188,189],"2019-06-13T15:59:28",{"_49":81,"_53":82,"_51":83},{"_49":171,"_53":172,"_51":173},{"_93":195,"_95":196,"_97":66,"_89":194,"_88":194},{"_93":192,"_95":193,"_97":66,"_89":194,"_88":194},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629623.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629623.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629623-100x100.jpg 100w",2500,"https://cms.timothylangston.com/wp-content/uploads/2019/06/629624.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629624.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629624-100x100.jpg 100w",2172,"a-pair-of-19th-century-gustavian-table-lustres-or-candelabra","A Pair of 19th Century Gustavian Table Lustres or Candelabra","https://cms.timothylangston.com/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-gustavian-table-lustres-or-candelabra/","/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-gustavian-table-lustres-or-candelabra/","

A pair of late 19th Century Gustavian two-arm table candelabra or ‘lustres’, the alabaster plinths with chased brass mounts and supporting two brass candle socles, the central stem with drapes of cut glass drops.

","0313",[216],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[208,209],"2019-06-13T15:59:31",{"_49":213,"_53":214,"_51":215},{"_49":210,"_53":211,"_51":212},24,"Lighting","lighting",25,"Chandeliers and Candlesticks","chandeliers-and-candlesticks",{"_93":217,"_95":218,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/578378.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/578378.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578378-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578378-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578378-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/578378-100x100.jpg 100w",2191,"a-pair-of-19th-century-gustavian-style-candelabra","A Pair of 19th Century Gustavian Style Candelabra","https://cms.timothylangston.com/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-gustavian-style-candelabra/","/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-gustavian-style-candelabra/","

A large pair of late nineteenth century table candelabra in the Gustavian manner, each candelabrum having a central faceted glass obelisk set with a crescent moon, supported by a cherub and surrounded by tiered cut glass drops, the lower sections having three candle socles set upon brass mounted marble plinths.

This form of candelabrum relates specifically to late eighteenth century Gustavian models with its waterfall glass drops and gilt brass crescent moon. The Gustavian Period in Scandinavian terms equates stylistically to the George III Period in English design history and Louis XVI in France - namely the Classical revival.

King Gustav III ruled Sweden from 1771 until 1792 and the colours of this period are largely creams, whites, blues and grays. Owning to its geographical position, darkness covers Sweden for most of the winter months. It is no wonder that, for centuries, the Swedes have filled their homes with light and remembrances of summer sunshine. This pair of candelabra would have been an important and magical source of light in a house before the advent of electricity.

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","0314",[234,235],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[232,233],"2019-06-13T15:59:30","2019-06-13T15:59:33",{"_49":210,"_53":211,"_51":212},{"_49":213,"_53":214,"_51":215},{"_93":238,"_95":239,"_97":221,"_89":98,"_88":98},{"_93":236,"_95":237,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/585330.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/585330.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585330-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585330-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585330-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585330-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/585329.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/585329.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585329-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585329-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585329-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585329-100x100.jpg 100w",2192,"a-20th-century-brass-queen-anne-style-hall-lantern","A 20th Century Brass Queen Anne Style Hall Lantern","https://cms.timothylangston.com/shop/lighting/single-lamps/a-20th-century-brass-queen-anne-style-hall-lantern/","/shop/lighting/single-lamps/a-20th-century-brass-queen-anne-style-hall-lantern/","

A brass hall lantern in the Queen Anne manner, of square form having arched sides.

","0315",[256],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[251,252],"2026-06-10T16:20:29",{"_49":210,"_53":211,"_51":212},{"_49":253,"_53":254,"_51":255},498,"Single Lamps","single-lamps",{"_93":257,"_95":258,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/585416.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/585416.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585416-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585416-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585416-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585416-100x100.jpg 100w",2193,"a-19th-century-louis-xvi-style-terracotta-planter","A 19th Century Louis XVI Style Terracotta Planter","https://cms.timothylangston.com/shop/objects/miscellaneous/a-19th-century-louis-xvi-style-terracotta-planter/","/shop/objects/miscellaneous/a-19th-century-louis-xvi-style-terracotta-planter/","

An early 20th Century terracotta planter in the Louis XVI manner, of hexagonal form having fluted sides.

","0316",[275],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[270,271],"2019-06-13T15:59:35",{"_49":112,"_53":113,"_51":114},{"_49":272,"_53":273,"_51":274},29,"Miscellaneous","miscellaneous",{"_93":276,"_95":277,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/585431.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/585431.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585431-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585431-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585431-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/585431-100x100.jpg 100w",2194,"a-large-17th-century-pair-of-imari-vases-and-covers","A large 17th Century Pair of Imari Vases and Covers","https://cms.timothylangston.com/shop/objects/ceramics/a-large-17th-century-pair-of-imari-vases-and-covers/","/shop/objects/ceramics/a-large-17th-century-pair-of-imari-vases-and-covers/","

A fine pair of late 17th century Imari vases of magnificent scale, the bodies and lids decorated in polychrome glazes with gilded highlights, the floral cartouches set upon cross-hatched grounds, the lids with gilded stylised lions.

Imari porcelain (伊万里焼) is the name given to porcelain wares made in Arita, a town in the former Hizen Province, northwestern Kyūshū. This porcelain was exported in significant quantities to the European Market from the port of Imari, Saga, between the 1650s and the first half of the 18th century. The Japanese as well as Europeans called such pieces Imari. The Japanese also refer to this school of porcelain as Arita-yaki (有田焼).

The colours of the glazes in this example and the configuration of ornament date this pair to the end of the seventeenth century and no later than the opening years of the eighteenth century.

","0317",[298],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[289,290,291],"2019-06-13T15:59:36",{"_49":295,"_53":296,"_51":297},{"_49":112,"_53":113,"_51":114},{"_49":292,"_53":293,"_51":294},19,"Vases","vases",18,"Ceramics","ceramics",{"_93":299,"_95":300,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/587490.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/587490.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587490-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587490-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587490-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587490-100x100.jpg 100w",2195,"a-very-large-17th-century-vase-and-cover","A Very Large 17th Century Vase and Cover","https://cms.timothylangston.com/shop/objects/ceramics/a-very-large-17th-century-vase-and-cover/","/shop/objects/ceramics/a-very-large-17th-century-vase-and-cover/","

A magnificent large scale seventeenth century Imari vase and cover, decorated throughout with flowers and foliage in gilded and polychrome glazes all articulated by black scrolling motifs and cartouches.

Though there are many types of Imari, the Western concept of this school of porcelain is associated specifically with the type of Imari produced and exported in large quantity during the second half of the 17th century; a variety known as Kinrande. Kinrande Imari is coloured porcelain with cobalt blue underglaze and red and gold overglaze, a colour combination not seen in China at this time (traditional Ming dynasty coloured porcelain used predominantly red and green, most probably down to a scarcity of gold in China at the time). Gold was abundant in Japan in those days.

The subject matter of Imari is remarkably diverse and ranges from flowers and foliage to birds, people and scenery. Some Imari designs such as the Kraak style, were adopted from the Chinese; but most designs were uniquely Japanese and inspired by the country's rich tradition of painting and costume design.

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","0318",[316],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[313,314,315],"2019-06-13T15:59:37",{"_49":295,"_53":296,"_51":297},{"_49":112,"_53":113,"_51":114},{"_49":292,"_53":293,"_51":294},{"_93":317,"_95":318,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/587527.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/587527.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587527-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587527-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587527-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587527-100x100.jpg 100w",2196,"a-17th-century-imari-vase-of-magnificent-scale","A 17th Century Imari Vase of Magnificent Scale","https://cms.timothylangston.com/shop/objects/ceramics/a-17th-century-imari-vase-of-magnificent-scale/","/shop/objects/ceramics/a-17th-century-imari-vase-of-magnificent-scale/","

A fine late seventeenth century Imari vase of great scale, decorated in the traditional manner with floral motifs and exotic birds in polychrome glazes, with gilded highlights, retaining the original cover.

Imari porcelain takes its name from the Japanese port from which it was shipped to the West, a process which began in the mid-17th century. Originally made in Arita, Imari ware took its design influences from the colourful Japanese textiles of the day. Exotic landscapes, gnarled trees, long-winged birds and depictions of figures in exquisitely detailed kimonos are just a few examples of the imagery of Imari.

","0319",[333,334],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[330,331,332],"2019-06-13T15:59:40",{"_49":295,"_53":296,"_51":297},{"_49":112,"_53":113,"_51":114},{"_49":292,"_53":293,"_51":294},{"_93":337,"_95":338,"_97":66,"_89":194,"_88":194},{"_93":335,"_95":336,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/587531.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/587531.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587531-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587531-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587531-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/587531-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629618.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629618.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629618-100x100.jpg 100w",2197,"henrik-von-gerber-circles","Henrik von Gerber - Circles","https://cms.timothylangston.com/shop/pictures/henrik-von-gerber-circles/","/shop/pictures/henrik-von-gerber-circles/","

Circles - Photorealism meeting abstraction. Film icons Jane Birkin and Steve McQueen.

Jane Birkin is an iconic British actress and singer, who first appeared in Michelangelo Antonini’s 1966 film Blowup. She is also known for her collaborations with Serge Gainsbourg, with whom she sang the controversial duet Je t’aime… moi non plus in 1969.

Steve McQueen is the quintessential American film star and icon of sixties cool. His meteoric rise to Hollywood fame also made him an ideal of the American Dream. His best known films include Bullitt, The Great Escape, The Thomas Crown Affair and Papillion.

HENRIK VON GERBER b.1970

Born just outside Lund in Southern Sweden, Henrik von Gerber moved to Stockholm as a teenager. He was strongly influenced by Pop Art, as well as sixties fashion and music. Trends associated with British Mod culture, old films and Modernist painting recur in his work, which also reflects the colours and atmosphere of his travels.

The artist describes his paintings as Urban Still Life. Created from photographic images captured on location all over the world, these are then recreated in oils in his studio. Many of von Gerber’s paintings retain a photographic quality, presenting particular moments in time, as if momentarily frozen by the camera.

","

Circles – Photorealism meeting abstraction. Film icons Jane Birkin and Steve McQueen.

HENRIK VON GERBER b.1970

","0320",[358],{"_87":355,"_88":356,"_89":357,"_90":66,"_91":66},[351],"2026-06-10T13:49:50",{"_49":352,"_53":353,"_51":354},20,"Pictures","pictures","Circa 2014 Sweden","88 cm (34.65 inches)","64 cm (25.20 inches)",{"_93":359,"_95":360,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/589675.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/589675.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589675-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589675-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589675-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589675-100x100.jpg 100w",2198,"henrik-von-gerber-aretha-recording-in-nyc","Henrik von Gerber - Aretha Recording in NYC","https://cms.timothylangston.com/shop/pictures/henrik-von-gerber-aretha-recording-in-nyc/","/shop/pictures/henrik-von-gerber-aretha-recording-in-nyc/","

Picture taken from a short film of Aretha in a recording session in late '67 at Atlantic studios in New York. She is listening to her voice as it is played in the studio... She relaxes with a cigarette. The song she records is Ain’t No Way, written by her sister Carol. The lower picture is a NY street from the sixties!

HENRIK VON GERBER b.1970

","

Picture taken from a short film of Aretha in a recording session in late ’67 at Atlantic studios in New York. She is listening to her voice as it is played in the studio… She relaxes with a cigarette. The song she records is Ain’t No Way, written by her sister Carol. The lower picture is a NY street from the sixties!

HENRIK VON GERBER b.1970

","0321",[374],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[373],"2026-06-10T13:49:36",{"_49":352,"_53":353,"_51":354},{"_93":375,"_95":376,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/589676.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/589676.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589676-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589676-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589676-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589676-100x100.jpg 100w",2199,"henrik-von-gerber-swensens-ice-cream-san-francisco","Henrik von Gerber - Swensen's Ice Cream, San Francisco","https://cms.timothylangston.com/shop/pictures/henrik-von-gerber-swensens-ice-cream-san-francisco/","/shop/pictures/henrik-von-gerber-swensens-ice-cream-san-francisco/","

The early Spring sun in San Francisco outside the first Swensen’s Ice Cream on Union Street.

The company was started in 1948 by Earle Swensen, who had learned to make ice cream while serving in the U.S. Navy during World War II. Swensen opened his first shop at the corner of Union and Hyde Streets, along the cable car tracks in Russian Hill in San Francisco at what had been a failed ice cream parlor.

HENRIK VON GERBER b.1970

","0322",[391],{"_87":355,"_88":389,"_89":390,"_90":66,"_91":66},[388],"2026-06-10T13:49:13",{"_49":352,"_53":353,"_51":354},"75 inches (190 1/2 cm)","100 inches (254 cm)",{"_93":392,"_95":393,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/589706.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/589706.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589706-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589706-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589706-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/589706-100x100.jpg 100w",2200,"a-pair-of-19th-century-ormolu-and-glass-table-lustres","A Pair of 19th Century Ormolu and Glass Table Lustres","https://cms.timothylangston.com/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-ormolu-and-glass-table-lustres/","/shop/lighting/chandeliers-and-candlesticks/a-pair-of-19th-century-ormolu-and-glass-table-lustres/","

A fine pair of table candelabra in the Gustavian manner, the finely chased ormolu bases each with two candle socles and supporting cut glass spears with gilt metal tops, the whole festooned with glass drops.

Gustavian style was brought to Sweden by King Gustav III, patron of the arts in his Country, after a visit to the Palace of Versailles. He was so impressed by what he saw that he decided to create his own “Paris of the North”. At this time, Sweden, was a major European force and, although not comparable to France or Russia, it was certainly able to compete with the grand royal houses of both countries.

Since the death of King Gustav III, in 1792 – due to a gunshot wound at a masked ball- the king has become synonymous with the bright fresh style of furniture that is known all around the world to this day. It is a restrained interpretation of the French Louis XV and Louis XVI style. The legs on chairs, tables and sofas are usually carved with serrulate detailing, often with a rosette at the top. Large gilded mirrors and wall sconces amplified the light during long and dark winters, whilst chandeliers tended to have five or seven arms. The style spread from the royal palaces of Drottningholm and Gripsholm to the houses of wealthy families and their country cottages, where it the style was seen as a more rustic interpretation. While palaces were decorated with gilded furniture, provincial homes were graced with white, gray or soft cream painted furniture.

This pair of table lustres epitomises Gustavian design with its lightness of form and the profusion of cut glass droplets around the ormolu candle sconces.

","0323",[407],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[405,406],"2019-06-13T15:59:44",{"_49":210,"_53":211,"_51":212},{"_49":213,"_53":214,"_51":215},{"_93":408,"_95":409,"_97":66,"_89":98,"_88":98},"https://cms.timothylangston.com/wp-content/uploads/2019/06/591923.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/591923.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/591923-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/591923-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/591923-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/591923-100x100.jpg 100w",2201,"circle-of-gilbert-jackson-portrait-of-sir-francis-wenman","Circle of Gilbert Jackson - Portrait of Sir Francis Wenman","https://cms.timothylangston.com/shop/pictures/portraits/circle-of-gilbert-jackson-portrait-of-sir-francis-wenman/","/shop/pictures/portraits/circle-of-gilbert-jackson-portrait-of-sir-francis-wenman/","

Sir Francis Wenman (1599-1640)

Oil on panel; 30 by 24 ½ in; 76 x 62 cm; held in a 17th century style black & gold wood frame
\nProvenance: Thornton Hall, Buckinghamshire. Most probably from the sitter and thence by descent to his grand daughter Dozelina, wife of Richard Smith of Padbury, Buckinghamshire; then by descent to their daughter Francis, wife of Thomas Sheppard of Littlecote, Oxfordshire; then by descent to their son Sir Thomas Sheppard of Thornton Hall; then by descent through the Sheppard, Hart and Cavendish families of Thornton Hall; sold by Henry Cavendish c.1904

The sitter here depicted is the posthumous son of Francis Wenman (d.1599) of Caswell House in Oxfordshire and Frances Goodier of Polesworth Hall in Warwickshire. Wenman's father died in Ireland in late August 1599, three months before his birth at Polesworth, and he became the ward of Sir Allen Apsley, then an Anglo-Irish official. It is not certain how far he maintained his links with his mother, whose second marriage into the Manners family brought her into the circle of the important Duke of Buckingham; nor indeed with his guardian Apsley, who was a relation of the Duke, and became lieutenant of the Tower in 1617. But Wenman was educated at Trinity College, Cambridge (1615) and the Middle Temple (1618) and soon afterwards was knighted, perhaps under the influence of Buckingham. He married Anne, daughter of Sir Samuel Sandys of Ombersley, Worcestershire, in 1628, the same year that he was elected M.P for Oxfordshire.

According to his friend Edward Hyde, the first Earl of Clarendon (1609-1674), Wenman was 'esteemed in Court' and 'equal to the greatest trust and employment, if he had been ambitious of it, or solicitous for it'. He had 'a competent estate' in Oxfordshire, including the ancestral seat of his family, and 'his reputation of wisdom and integrity gave him an interest and credit in that country much above his fortune'. Wenman was also a close friend of Lucius Carey, 2nd Viscount Falkland, and an esteemed member of the Great Tew Circle of Philosophers and Wits. He sat in the Short Parliament, but died shortly after on 26 June 1640. His health had always been poor and is cited by Hyde in explanation of 'a kind of laziness of mind, which disinclined him to business'. His second son also sat as M.P. for Oxfordshire in 1664 and his grandson, four times Member for Brackley, was to succeed him to Thame Park as head of the Wenman family in 1686.

In 1631, at the time when this portrait was commissioned, Charles I had been on the Throne for six years. In 1628 Wenman became an M.P., the same year the King's favourite, the Duke of Buckingham, was assassinated. Tensions had been rising between Monarch and Parliament almost since the King ascension, and two parliaments had already been dissolved since 1625. Major disagreements over foreign policy, directed by the Duke of Buckingham, who led catastrophic military expeditions against Spain and the Catholic powers, together with those concerning taxation and religious affairs, saw an embattled and embittered King furiously dismiss his third Parliament in 1629. It would not meet for another eleven years. When it did, Wenman, along with other Royalists, supported Lord Saye & Sele and John Hampden against the King when he tried to once again raise income without the legal support of Parliament in the form of notorious ship money. Two years later the English Civil War began in earnest.

Depicted at the age of thirty-one, this portrait is by an artist whose style closely relates to that of Gilbert Jackson. It is often difficult to attach specific names to many portrait painters working in the provinces during this time, Jackson appearing to be one of the more notable with a few signed works enabling us to draw comparison. Portrayed in the height of fashion for the period, Wenman's left arm draws a black cloak around his slashed doublet, the elegant gesture setting off his ringed hand and lace cuff to much effect. The highly detailed lace collar, an extremely expensive item of clothing for the period, is equally shown to great effect by the sobriety of dress. Whilst much painterly form can be observed in the face, overall the work looks back to the flat hieratic style of the late Elizabethan Court, with the artist devoting much care to the rendition of surface, colour and texture. The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once both charming and unselfconscious but noticeably old-fashioned in a Carolean court dominated by the arrival of Anthony Van Dyck.

Given this stylistic approach, it is reasonable to assume that the painter was initially trained in London, perhaps by one of the older generation of portraitists who resided there, who then moved out to work as an itinerant in the provinces - settling in one area to paint the local gentry, where he would have no competition from the better known London painters. Indeed, this portrait owes much compositionally to the work of Cornelius Johnson (1593-1661) and given the subtleties of brushwork which are evident in the face and hair, this implies a method of approach much more skilled than that of an untrained provincial painter.

","

Sir Francis Wenman (1599-1640)

The sitter here depicted is the posthumous son of Francis Wenman (d.1599) of Caswell House in Oxfordshire and Frances Goodier of Polesworth Hall in Warwickshire. Wenman’s father died in Ireland in late August 1599, three months before his birth at Polesworth, and he became the ward of Sir Allen Apsley, then an Anglo-Irish official. It is not certain how far he maintained his links with his mother, whose second marriage into the Manners family brought her into the circle of the important Duke of Buckingham; nor indeed with his guardian Apsley, who was a relation of the Duke, and became lieutenant of the Tower in 1617. But Wenman was educated at Trinity College, Cambridge (1615) and the Middle Temple (1618) and soon afterwards was knighted, perhaps under the influence of Buckingham. He married Anne, daughter of Sir Samuel Sandys of Ombersley, Worcestershire, in 1628, the same year that he was elected M.P for Oxfordshire.

According to his friend Edward Hyde, the first Earl of Clarendon (1609-1674), Wenman was ‘esteemed in Court’ and ‘equal to the greatest trust and employment, if he had been ambitious of it, or solicitous for it’. He had ‘a competent estate’ in Oxfordshire, including the ancestral seat of his family, and ‘his reputation of wisdom and integrity gave him an interest and credit in that country much above his fortune’. Wenman was also a close friend of Lucius Carey, 2nd Viscount Falkland, and an esteemed member of the Great Tew Circle of Philosophers and Wits. He sat in the Short Parliament, but died shortly after on 26 June 1640. His health had always been poor and is cited by Hyde in explanation of ‘a kind of laziness of mind, which disinclined him to business’. His second son also sat as M.P. for Oxfordshire in 1664 and his grandson, four times Member for Brackley, was to succeed him to Thame Park as head of the Wenman family in 1686.

In 1631, at the time when this portrait was commissioned, Charles I had been on the Throne for six years. In 1628 Wenman became an M.P., the same year the King’s favourite, the Duke of Buckingham, was assassinated. Tensions had been rising between Monarch and Parliament almost since the King ascension, and two parliaments had already been dissolved since 1625. Major disagreements over foreign policy, directed by the Duke of Buckingham, who led catastrophic military expeditions against Spain and the Catholic powers, together with those concerning taxation and religious affairs, saw an embattled and embittered King furiously dismiss his third Parliament in 1629. It would not meet for another eleven years. When it did, Wenman, along with other Royalists, supported Lord Saye & Sele and John Hampden against the King when he tried to once again raise income without the legal support of Parliament in the form of notorious ship money. Two years later the English Civil War began in earnest.

Depicted at the age of thirty-one, this portrait is by an artist whose style closely relates to that of Gilbert Jackson. It is often difficult to attach specific names to many portrait painters working in the provinces during this time, Jackson appearing to be one of the more notable with a few signed works enabling us to draw comparison. Portrayed in the height of fashion for the period, Wenman’s left arm draws a black cloak around his slashed doublet, the elegant gesture setting off his ringed hand and lace cuff to much effect. The highly detailed lace collar, an extremely expensive item of clothing for the period, is equally shown to great effect by the sobriety of dress. Whilst much painterly form can be observed in the face, overall the work looks back to the flat hieratic style of the late Elizabethan Court, with the artist devoting much care to the rendition of surface, colour and texture. The result is a mixture of sophisticated painterly technique allied with a naiveté of drawing which is at once both charming and unselfconscious but noticeably old-fashioned in a Carolean court dominated by the arrival of Anthony Van Dyck.

Given this stylistic approach, it is reasonable to assume that the painter was initially trained in London, perhaps by one of the older generation of portraitists who resided there, who then moved out to work as an itinerant in the provinces – settling in one area to paint the local gentry, where he would have no competition from the better known London painters. Indeed, this portrait owes much compositionally to the work of Cornelius Johnson (1593-1661) and given the subtleties of brushwork which are evident in the face and hair, this implies a method of approach much more skilled than that of an untrained provincial painter.

","0324",[427],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[422,423],"2019-06-13T15:59:45",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},21,"Portraits","portraits",{"_93":428,"_95":429,"_97":66,"_89":430,"_88":430},"https://cms.timothylangston.com/wp-content/uploads/2019/06/599790.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/599790.jpg 399w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599790-252x316.jpg 252w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599790-337x422.jpg 337w",399,2202,"dutch-school-portrait-of-a-gentleman","Dutch School, Portrait of a Gentleman","https://cms.timothylangston.com/shop/pictures/portraits/dutch-school-portrait-of-a-gentleman/","/shop/pictures/portraits/dutch-school-portrait-of-a-gentleman/","

Oil on panel; 26 ½ by 21 in; 67.5 x 53 cm; inscribed upper right 'Aiaus sua 22/ Anno 1639'; held in a 17th century style ripple molded frame
\nProvenance: Lent to the Laing Gallery, 1904 by Mr C. E. Carr; Private Collection, England

Exhibited: Laing Art Gallery, Special Inaugural Exhibition of Pictures by British and Foreign Artists, Newcastle-upon-Tyne, 1904

This remarkable portrait of a young gentleman was painted in 1639 when the unknown sitter was 22 years old. Fashionably dressed in grey doublet and ruff, he looks out directly and fixedly at the onlooker in a manner which is specific to Dutch portraiture of the time. Portrait painting in the Low Countries during the first quarter of the 17th century is to a large extent typified by an exacting stature, which sometimes, in the hands of less gifted artists, descended into rigidity. This austerity was clearly determined in part by the prevailing fashion, with its emphasis on dark hues. Portrait painters sought not only to depict their subjects as realistically as possible, but also to present them in a more natural manner.

The composition of this picture is enlivened by the vigourously painted background which in many portraits of this kind is plain throughout. In this example, shadows, sketched behind and to the side, in addition to a wide spectrum of tonal range, convey a sense of energy. This technique is seen more often in the work of Franz Hals (1582-1666). These rapid brushstrokes, applied to a preparatory ground, consist of yellow and red oche colour pigments and bring warmth to the portrait as well as a depth to the overall physical form of the image. This can be seen most noticeably on the sitter's face where the darker side is expressively highlighted by sgraffito (scratching out), creating the delicate facial hair around the lips and the moustache, further being used to similar effect on the eybrow and eye lashes. The strong nose and the high forehead with a distinctive hairline that frames the face, together with an intense expression to the eyes, all add to the lively and forthright characterisation the artist has achieved so realistically.

The present portrait bears a close resemblance to a work that was offered for sale at auction in recent times - Christies Old Master Paintings, 4th July, 2012, lot 162 - so much so that it is almost certainly by the same, as yet, unknown artist.

","

Oil on panel; 26 ½ by 21 in; 67.5 x 53 cm; inscribed upper right ‘Aiaus sua 22/ Anno 1639’; held in a 17th century style ripple molded frame
\nProvenance: Lent to the Laing Gallery, 1904 by Mr C. E. Carr; Private Collection, England

Exhibited: Laing Art Gallery, Special Inaugural Exhibition of Pictures by British and Foreign Artists, Newcastle-upon-Tyne, 1904

The composition of this picture is enlivened by the vigourously painted background which in many portraits of this kind is plain throughout. In this example, shadows, sketched behind and to the side, in addition to a wide spectrum of tonal range, convey a sense of energy. This technique is seen more often in the work of Franz Hals (1582-1666). These rapid brushstrokes, applied to a preparatory ground, consist of yellow and red oche colour pigments and bring warmth to the portrait as well as a depth to the overall physical form of the image. This can be seen most noticeably on the sitter’s face where the darker side is expressively highlighted by sgraffito (scratching out), creating the delicate facial hair around the lips and the moustache, further being used to similar effect on the eybrow and eye lashes. The strong nose and the high forehead with a distinctive hairline that frames the face, together with an intense expression to the eyes, all add to the lively and forthright characterisation the artist has achieved so realistically.

The present portrait bears a close resemblance to a work that was offered for sale at auction in recent times – Christies Old Master Paintings, 4th July, 2012, lot 162 – so much so that it is almost certainly by the same, as yet, unknown artist.

","0325",[445,446],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[443,444],"2019-06-13T15:59:47",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":450,"_95":451,"_97":66,"_89":452,"_88":452},{"_93":447,"_95":448,"_97":66,"_89":449,"_88":449},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642334.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642334.jpg 1304w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642334-269x316.jpg 269w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642334-1000x1173.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642334-337x395.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642334-1232x1445.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642334-873x1024.jpg 873w",1304,"https://cms.timothylangston.com/wp-content/uploads/2019/06/599816.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/599816.jpg 384w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599816-243x316.jpg 243w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599816-337x439.jpg 337w",384,2203,"theodore-roussel-portrait-of-king-charles-i","Theodore Roussel, Portrait of King Charles I","https://cms.timothylangston.com/shop/pictures/portraits/theodore-roussel-portrait-of-king-charles-i/","/shop/pictures/portraits/theodore-roussel-portrait-of-king-charles-i/","

Oil on panel; 15 ½ by 12 ¼ in; 39.5 x 31 cm; held in a gilt 17th century style frame
\nProvenance: John Boscawen Monro (1792-1847) and then by descent

This painting is a head and shoulders version, taken from a full length portrait of Charles I painted c.1636 which is now in the State Hermitage Museum, St.Petersburg. Depicted in full armour and wearing the chain of The Most Noble Order of The Garter, the King is shown as a military leader, unlike his earlier depiction by van Dyck as a father in the less formal group portrait of 1632 known as 'The great Peece' (Royal Collection). Bernini, the great sculptor, when in receipt of the important triple portrait of Charles by van Dyck remarked that there was a certain sadness in the monarch's eyes, a feature which the artist has also identified herein. Although subtly different from the original, a certain melancholic air is perceptible in the King's facial expression; a wetness around the eyes and slightly withdrawn look to the expression. This, compounded by the rendering of the mouth, creates an image less confident in tone than that of 1636. while difficult to date precisely these reduced copies of van Dyck's works were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King's execution in 1649. They were much in demand as 'closet pictures', adorning the private walls of royalist supporters.

There has been a great deal of scholarly discussion concerning these small portrait panels. It is difficult to determine the ultimate authorship beyond doubt, (Karen Hearn: Van Dyck & Britain, Tate London, 2009 p.176). There is a group in the Royal collection which has been attributed to Remigius van Leemput (1607-1675). Ohers such as those at Woburn have been thought to be the work of Roussel and relate to this example. Stylistic differences clearly exist among them all and this enforces the fact that more than one artist was at work, copying van Dyck's portrait in this manner. Yet, broadly speaking, distinctions can be made by comparison. Roussel's attributed works generally display a greater linear definition, especially around the face. Existing works by Leemput are often more softly outlined. As can be seen very clearly in this portrait of Charles, both the face and the body are worked up from a light grey ground with the paint applied thickly in some areas and sparcely in others, with certain aspects, noticeably the hair, being strongly drawn with the brush. There is a strong sense of characterisation, something that is not that common with these copies, which makes this particular image of the King distinctive.

Theodore Roussel (Russell) was born in London in 1614, the son of Nicasius, a goldsmith and jeweller who left Bruges for England around 1567 and married his second wife Clara in 1604. She was the sister of the eminent portrait painter Cornelis Johnson with whom Theodore reputedly spent a nine year apprenticeship prior to working as an assistant to van Dyck. Following the master's death in 1641, Roussel appears to have begun copying van Dyck's portraits 'very tolerably on small pannels'. However, no contemporary accounts have surfaced to corroborate this and confusion with what are now accepted as small works by Leemput have cast some doubt on the volume of work he undertook in this manner. There is a set of five bust-length portraits at Knebworth House, Hertfordshire, including a male portrait, signed and dated 1644; but generally, signed portraits by Roussel are rare indeed. Small panel portrait sets including works attributable to both Leemput and Roussel (some copied directly from van Dyck) can be found at Woburn in Bedfordshire, Southside in Wimbledon and Knowle in Kent, as well as examples in the Royal Collection.

By the early nineteenth century this portrait was recorded as being in the collection of John Boscawen Monro (1792-1847) and it has descended through this family until recent times. Monro, was a barrister in London during his early working life and a label on the reverse of the panel states that he 'had it hanging in his chambers in the Middle Temple where he lived as a young man'. He was a relative of Dr. Thomas Monro, the artist and physician.

","

Oil on panel; 15 ½ by 12 ¼ in; 39.5 x 31 cm; held in a gilt 17th century style frame
\nProvenance: John Boscawen Monro (1792-1847) and then by descent

This painting is a head and shoulders version, taken from a full length portrait of Charles I painted c.1636 which is now in the State Hermitage Museum, St.Petersburg. Depicted in full armour and wearing the chain of The Most Noble Order of The Garter, the King is shown as a military leader, unlike his earlier depiction by van Dyck as a father in the less formal group portrait of 1632 known as ‘The great Peece’ (Royal Collection). Bernini, the great sculptor, when in receipt of the important triple portrait of Charles by van Dyck remarked that there was a certain sadness in the monarch’s eyes, a feature which the artist has also identified herein. Although subtly different from the original, a certain melancholic air is perceptible in the King’s facial expression; a wetness around the eyes and slightly withdrawn look to the expression. This, compounded by the rendering of the mouth, creates an image less confident in tone than that of 1636. while difficult to date precisely these reduced copies of van Dyck’s works were produced around the middle of the 17th century, particularly during the time of the English Civil War and the King’s execution in 1649. They were much in demand as ‘closet pictures’, adorning the private walls of royalist supporters.

There has been a great deal of scholarly discussion concerning these small portrait panels. It is difficult to determine the ultimate authorship beyond doubt, (Karen Hearn: Van Dyck & Britain, Tate London, 2009 p.176). There is a group in the Royal collection which has been attributed to Remigius van Leemput (1607-1675). Ohers such as those at Woburn have been thought to be the work of Roussel and relate to this example. Stylistic differences clearly exist among them all and this enforces the fact that more than one artist was at work, copying van Dyck’s portrait in this manner. Yet, broadly speaking, distinctions can be made by comparison. Roussel’s attributed works generally display a greater linear definition, especially around the face. Existing works by Leemput are often more softly outlined. As can be seen very clearly in this portrait of Charles, both the face and the body are worked up from a light grey ground with the paint applied thickly in some areas and sparcely in others, with certain aspects, noticeably the hair, being strongly drawn with the brush. There is a strong sense of characterisation, something that is not that common with these copies, which makes this particular image of the King distinctive.

Theodore Roussel (Russell) was born in London in 1614, the son of Nicasius, a goldsmith and jeweller who left Bruges for England around 1567 and married his second wife Clara in 1604. She was the sister of the eminent portrait painter Cornelis Johnson with whom Theodore reputedly spent a nine year apprenticeship prior to working as an assistant to van Dyck. Following the master’s death in 1641, Roussel appears to have begun copying van Dyck’s portraits ‘very tolerably on small pannels’. However, no contemporary accounts have surfaced to corroborate this and confusion with what are now accepted as small works by Leemput have cast some doubt on the volume of work he undertook in this manner. There is a set of five bust-length portraits at Knebworth House, Hertfordshire, including a male portrait, signed and dated 1644; but generally, signed portraits by Roussel are rare indeed. Small panel portrait sets including works attributable to both Leemput and Roussel (some copied directly from van Dyck) can be found at Woburn in Bedfordshire, Southside in Wimbledon and Knowle in Kent, as well as examples in the Royal Collection.

By the early nineteenth century this portrait was recorded as being in the collection of John Boscawen Monro (1792-1847) and it has descended through this family until recent times. Monro, was a barrister in London during his early working life and a label on the reverse of the panel states that he ‘had it hanging in his chambers in the Middle Temple where he lived as a young man’. He was a relative of Dr. Thomas Monro, the artist and physician.

","0326",[467,468],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[465,466],"2019-06-13T15:59:49",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":472,"_95":473,"_97":66,"_89":474,"_88":474},{"_93":469,"_95":470,"_97":66,"_89":471,"_88":471},"https://cms.timothylangston.com/wp-content/uploads/2019/06/599824.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/599824.jpg 389w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599824-246x316.jpg 246w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599824-337x433.jpg 337w",389,"https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410.jpg 2000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/1223410-100x100.jpg 100w",2000,2204,"studio-of-sir-godfrey-kneller-portrait-of-queen-anne","Studio of Sir Godfrey Kneller, Portrait of Queen Anne","https://cms.timothylangston.com/shop/pictures/portraits/studio-of-sir-godfrey-kneller-portrait-of-queen-anne/","/shop/pictures/portraits/studio-of-sir-godfrey-kneller-portrait-of-queen-anne/","

Oil on canvas; 30 ¼ by 24 ¾ in; 77 x 63 cm; held in an early 18th century carved wood frame
\nProvenance: Private Collection, England

Perhaps an unpromising commission for Kneller, Queen Anne was known for her plainness of appearance and by the time she ascended the throne of England, her looks had altered considerably since her earlier depiction as a young princess in 1684 by William Wissing (Scottish National Portrait Gallery). However what she lacked in beauty, she made up for in determination and fortitude; elements of character that Kneller clearly understood and highlighted in his commanding full length coronation portrait, (Inner Temple Collection, London) from which the present head and shoulders version is taken.

The new monarch looks out uncompromisingly with a proud, indomitable spirit, her head set with a crown, and her body adorned with the chain of The Most Noble Order of The Garter - symbols of continuity and regal strength. In every respect this is an image of majesty. After Queen Anne's coronation and Sir Godfrey Kneller's initial commission of 1703, his studio would have been requested to produce further examples of the same work. These would have been for royal patrons, courtiers, ambassadors and members of the gentry who were keen to show their allegiance to the new monarch. The larger three-quarter or full-length length versions found particular favour in civic settings and important institutions with the head and shoulders variant as seen here - in many respects more engaging - a much scarcer form.

Queen Anne was the second daughter of King James II by his first wife Lady Anne Hyde (1637-71). She was born at St James's Palace in February 1665, the year before the Great Fire of London. She spent her early years in France living with her grandmother and aunt. While she was a Catholic, on the instruction of Charles II, Anne and her sister Mary were raised Protestants. In 1683, Anne married Prince George of Denmark (1653-1708). It was a happy marriage, yet marred by frequent miscarriages, still births and the death of children in infancy: five of her eighteen children were born alive and none of them reached maturity.

When James II was overthrown in 1688, Anne's sister Mary, and her Dutch husband William, took the Throne. Anne automatically became their heir should they have no children. Upon their deaths, Anne became Queen in 1702. Within months, the War of the Spanish Succession began and a series of military victories by John Churchill, Duke of Marlborough, including the Battle of Blenheim, strengthened England's negotiating position. By the conclusion of the war under the 1713 Treaty of Utrecht, France finally recognised Anne's title over that of James II's Roman Catholic son, James Stuart and confirmed England's possession of Gibraltar.

The last years of the 17th century had seen differing policies pursued by parliaments in England and Scotland, including disagreements over the order of succession. The solution which was negotiated ultimately led to the unification of England and Scotland in May 1707, as a single kingdom and Anne became the first sovereign of Great Britain. Politically, the rest of her reign was marked by the development of the two party system in Parliament, with the Whigs and Tories competing for control in government.

Anne resented the great expense of Marlborough's campaigns, and in this she was essentially in agreement with Tory policy. In addition, she found the Whig philosophy to be distasteful, particularly for its encroachments on the prerogatives of the monarch. As such, Anne hoped to rule through mixed ministries; however, in 1708 the Whigs became dominant. Her own sympathies had always lain ultimately with the Tory party and she supported their administration when there was a major shift in 1711 until her death in August 1714. Her only surviving son, William, died in 1700, prompting parliament to pass the Act of Settlement (1701) to ensure a Protestant succession. Anne was therefore succeeded by the German Protestant, Prince George, Elector of Hanover as the Stuart Dynasty gave way to a new order.

","

Oil on canvas; 30 ¼ by 24 ¾ in; 77 x 63 cm; held in an early 18th century carved wood frame
\nProvenance: Private Collection, England

The new monarch looks out uncompromisingly with a proud, indomitable spirit, her head set with a crown, and her body adorned with the chain of The Most Noble Order of The Garter – symbols of continuity and regal strength. In every respect this is an image of majesty. After Queen Anne’s coronation and Sir Godfrey Kneller’s initial commission of 1703, his studio would have been requested to produce further examples of the same work. These would have been for royal patrons, courtiers, ambassadors and members of the gentry who were keen to show their allegiance to the new monarch. The larger three-quarter or full-length length versions found particular favour in civic settings and important institutions with the head and shoulders variant as seen here – in many respects more engaging – a much scarcer form.

Queen Anne was the second daughter of King James II by his first wife Lady Anne Hyde (1637-71). She was born at St James’s Palace in February 1665, the year before the Great Fire of London. She spent her early years in France living with her grandmother and aunt. While she was a Catholic, on the instruction of Charles II, Anne and her sister Mary were raised Protestants. In 1683, Anne married Prince George of Denmark (1653-1708). It was a happy marriage, yet marred by frequent miscarriages, still births and the death of children in infancy: five of her eighteen children were born alive and none of them reached maturity.

When James II was overthrown in 1688, Anne’s sister Mary, and her Dutch husband William, took the Throne. Anne automatically became their heir should they have no children. Upon their deaths, Anne became Queen in 1702. Within months, the War of the Spanish Succession began and a series of military victories by John Churchill, Duke of Marlborough, including the Battle of Blenheim, strengthened England’s negotiating position. By the conclusion of the war under the 1713 Treaty of Utrecht, France finally recognised Anne’s title over that of James II’s Roman Catholic son, James Stuart and confirmed England’s possession of Gibraltar.

Anne resented the great expense of Marlborough’s campaigns, and in this she was essentially in agreement with Tory policy. In addition, she found the Whig philosophy to be distasteful, particularly for its encroachments on the prerogatives of the monarch. As such, Anne hoped to rule through mixed ministries; however, in 1708 the Whigs became dominant. Her own sympathies had always lain ultimately with the Tory party and she supported their administration when there was a major shift in 1711 until her death in August 1714. Her only surviving son, William, died in 1700, prompting parliament to pass the Act of Settlement (1701) to ensure a Protestant succession. Anne was therefore succeeded by the German Protestant, Prince George, Elector of Hanover as the Stuart Dynasty gave way to a new order.

","0327",[489,490],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[487,488],"2019-06-13T15:59:53",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":494,"_95":495,"_97":66,"_89":496,"_88":496},{"_93":491,"_95":492,"_97":66,"_89":493,"_88":493},"https://cms.timothylangston.com/wp-content/uploads/2019/06/641836.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641836.jpg 1493w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641836-281x316.jpg 281w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641836-1000x1125.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641836-337x379.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641836-1232x1386.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641836-910x1024.jpg 910w",1493,"https://cms.timothylangston.com/wp-content/uploads/2019/06/641835.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641835.jpg 1087w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641835-261x316.jpg 261w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641835-1000x1210.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641835-337x408.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641835-846x1024.jpg 846w",1087,2205,"after-charles-jervas-portrait-of-elizabeth-egerton-nee-churchill-the-countess-of-bridgewater","After Charles Jervas, Portrait of Elizabeth Egerton (née Churchill), The Countess of Bridgewater","https://cms.timothylangston.com/shop/pictures/portraits/after-charles-jervas-portrait-of-elizabeth-egerton-nee-churchill-the-countess-of-bridgewater/","/shop/pictures/portraits/after-charles-jervas-portrait-of-elizabeth-egerton-nee-churchill-the-countess-of-bridgewater/","

Oil on canvas; 18 by 11 ½ in; 46 x 29cm; held in a gilt carved frame
\nProvenance: The David Style Collection, Christies 12/13th January 2005, lot 245; Philip Mould Ltd.

We are most grateful to Caroline Pegum - who is compiling the catalogue of Jervas's works to include this painting - for her views on this portrait.

Elizabeth Churchill was born into the highest level of English Society: the third daughter and co-heiress of the great English general John Churchill, 1st Duke of Marlborough. She married Scroope Egerton 4th Earl of Bridgewater in February 1703.

'This Scroop held various high offices at Court in successive reigns; and 'in consideration of his great merits' was created in 1720 Duke of Bridgewater. He and his 'great merits' are well nigh forgotten, but the memory of his first Duchess still faintly survives, embalmed in the verse of Pope. She was one of the four beautiful daughters and co-heiresses of the great Duke of Marlborough, who left no son to inherit Blenheim and his honours. Jervas, Pope's friend and teacher in the pictorial art, had painted portraits of this once-famous beauty; and the little bard himself had made various sketches of her, all of which he threw into the fire. Hence several allusions to her in 'the Epistle to Mr Jervas' in whose pictures, according to Pope, 'Beauty, waking all her forms, supplies An angel's sweetness, or Bridgewater's eyes'...and...'Churchill's race shall other hearts surprise.' (Francis Espinasse: Lancashire Worthies, Chap. XI, 1874).

The artist Charles Jervas (1675-1739) claimed he was in love with the beautiful Churchill heiress who became his muse and inspiration for many portrait commissions. Even Horace Walpole noted 'many a homely dame was delighted to find her picture resemble Lady Bridgewater'. Taken with her overall beauty, which he appears to have considered ideal, like Kneller and Lely before him, Jervas proceeded to use this as a template for his other portraits, where reality and individual likeness was of secondary importance to a preconceived idea of what constituted an elegant composition and beautiful countenance. In this respect Lady Bridgewater's features can be seen throughout many of his client's portraits at this time.

This small and jewell-like full-length painting most certainly records a lost life-sized portrait. Other portraits by Jervas exist, following this composition, but which are reduced to half or three-quarter length formats. (Christies November 19th 1982, lot 82, from the Ellesmere Collection and National Trust, Lanhydrock House Collection). The survival of this copy allows us to appreciate the elegance of the original composition and interestingly depicts the noble greyhound at the Countess's feet.

","

Oil on canvas; 18 by 11 ½ in; 46 x 29cm; held in a gilt carved frame
\nProvenance: The David Style Collection, Christies 12/13th January 2005, lot 245; Philip Mould Ltd.

We are most grateful to Caroline Pegum – who is compiling the catalogue of Jervas’s works to include this painting – for her views on this portrait.

‘This Scroop held various high offices at Court in successive reigns; and ‘in consideration of his great merits’ was created in 1720 Duke of Bridgewater. He and his ‘great merits’ are well nigh forgotten, but the memory of his first Duchess still faintly survives, embalmed in the verse of Pope. She was one of the four beautiful daughters and co-heiresses of the great Duke of Marlborough, who left no son to inherit Blenheim and his honours. Jervas, Pope’s friend and teacher in the pictorial art, had painted portraits of this once-famous beauty; and the little bard himself had made various sketches of her, all of which he threw into the fire. Hence several allusions to her in ‘the Epistle to Mr Jervas’ in whose pictures, according to Pope, ‘Beauty, waking all her forms, supplies An angel’s sweetness, or Bridgewater’s eyes’…and…’Churchill’s race shall other hearts surprise.’ (Francis Espinasse: Lancashire Worthies, Chap. XI, 1874).

The artist Charles Jervas (1675-1739) claimed he was in love with the beautiful Churchill heiress who became his muse and inspiration for many portrait commissions. Even Horace Walpole noted ‘many a homely dame was delighted to find her picture resemble Lady Bridgewater’. Taken with her overall beauty, which he appears to have considered ideal, like Kneller and Lely before him, Jervas proceeded to use this as a template for his other portraits, where reality and individual likeness was of secondary importance to a preconceived idea of what constituted an elegant composition and beautiful countenance. In this respect Lady Bridgewater’s features can be seen throughout many of his client’s portraits at this time.

","0328",[511],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[509,510],"2019-06-13T15:59:54",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":512,"_95":513,"_97":66,"_89":514,"_88":514},"https://cms.timothylangston.com/wp-content/uploads/2019/06/599956.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/599956.jpg 303w, https://cms.timothylangston.com/wp-content/uploads/2019/06/599956-191x316.jpg 191w",303,2224,"portrait-of-henrietta-godolphin-duchess-of-marlborough","After Charles Jervas, Portrait of Henrietta Godolphin (née Churchill), Second Duchess of Marlborough","https://cms.timothylangston.com/shop/pictures/portraits/portrait-of-henrietta-godolphin-duchess-of-marlborough/","/shop/pictures/portraits/portrait-of-henrietta-godolphin-duchess-of-marlborough/","

Oil on canvas; 18 by 11 ½ in; 46 x 29 cm; held in a gilt carved frame
\nProvenance: The David Style Collection, Christies 12/13th January 2005, lot 244; Philip Mould Ltd.

We are very grateful to Caroline Pegum, who is compiling the catalogue of Jervas's works which will include this painting, for her thoughts on this portrait.

This jewel-like full-length portrait, like that of the Countess of Bridgewater, most probably relates to a lost life size portrait of Henrietta, 2nd Duchess of Marlborough. Other portraits exist which compare favourably with this opinion and it would make sense as a pendant to the portrait of her sister. The survival of this painting enables us to appreciate the elegance of the original composition as conceived by Charles Jervas (1675-1739). We may also note the skill of this painter who has perfectly depicted the fine detailing of the sitter's skin and silk dress.

Painted by the same artist, it is most likely that these two small scale portraits were produced as a record for another relative or indeed an admirer of the sitter. These ladies were members of the highest society, being heiresses to England's most important and celebrated military commander. Their images carried celebrity status and would have captured the wider public's imagination.

Henrietta Churchill was the elder daughter and heiress to the great English general, John Churchill, 1st Duke of Marlborough. She married Francis Godolphin, the 2nd Earl of Godolphin in March 1698. In 1706, an act of Parliament permitted the First Duke's daughters to inherit his English titles. Thus, following his death in 1722, Lady Godolphin became suo jure Duchess of Marlborough. Under Queen Anne, she was a Lady of the Bedchamber. She scandalously embarked on an affair with the dramatist William Congreve resulting in the birth of an illegitimate daughter. Despite this, her relationship with her husband appears to have remained amicable. However, she had a strained relationship with her mother, Sarah, and she died before any form of reconciliation was possible. Her mother commented, 'She had many good things in her, with some oddness', but she was 'a cruel daughter and mother'. This statement could equally have been made by Henrietta concerning her own mother.

","

Oil on canvas; 18 by 11 ½ in; 46 x 29 cm; held in a gilt carved frame
\nProvenance: The David Style Collection, Christies 12/13th January 2005, lot 244; Philip Mould Ltd.

We are very grateful to Caroline Pegum, who is compiling the catalogue of Jervas’s works which will include this painting, for her thoughts on this portrait.

Painted by the same artist, it is most likely that these two small scale portraits were produced as a record for another relative or indeed an admirer of the sitter. These ladies were members of the highest society, being heiresses to England’s most important and celebrated military commander. Their images carried celebrity status and would have captured the wider public’s imagination.

Henrietta Churchill was the elder daughter and heiress to the great English general, John Churchill, 1st Duke of Marlborough. She married Francis Godolphin, the 2nd Earl of Godolphin in March 1698. In 1706, an act of Parliament permitted the First Duke’s daughters to inherit his English titles. Thus, following his death in 1722, Lady Godolphin became suo jure Duchess of Marlborough. Under Queen Anne, she was a Lady of the Bedchamber. She scandalously embarked on an affair with the dramatist William Congreve resulting in the birth of an illegitimate daughter. Despite this, her relationship with her husband appears to have remained amicable. However, she had a strained relationship with her mother, Sarah, and she died before any form of reconciliation was possible. Her mother commented, ‘She had many good things in her, with some oddness’, but she was ‘a cruel daughter and mother’. This statement could equally have been made by Henrietta concerning her own mother.

","0329",[530,531],{"_87":66,"_88":66,"_89":66,"_90":66,"_91":66},[528,529],"2019-06-13T15:59:50","2022-02-18T16:27:27",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":535,"_95":536,"_97":66,"_89":537,"_88":537},{"_93":532,"_95":533,"_97":66,"_89":534,"_88":534},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642361.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642361.jpg 1279w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642361-242x316.jpg 242w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642361-1000x1306.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642361-337x440.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642361-1232x1609.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642361-784x1024.jpg 784w",1279,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642360.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642360.jpg 869w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642360-193x316.jpg 193w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642360-337x551.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642360-627x1024.jpg 627w",869,2225,"follower-of-sir-godfrey-kneller-jean-stirling","Follower of Sir Godfrey Kneller, Jean Stirling","https://cms.timothylangston.com/shop/pictures/portraits/follower-of-sir-godfrey-kneller-jean-stirling/","/shop/pictures/portraits/follower-of-sir-godfrey-kneller-jean-stirling/","

Oil on canvas; original carved wood frame made by Gibson of Edinburgh, bearing 18th century label; entire 47 by 58 ins; 120 x 147.5 cm
\nProvenance: By family descent

The sitter was the daughter of Captain John Stirling (died 1756) of Auchyle and Herbertshire and Christian, daughter of Sir William Stirling, Bt. of Ardoch. Born in March 1722 she married firstly in January 1751 Sir James Stirling of Glorat, who died in April 1771. She later remarried the Honorable James Erskine of Alloa, later Lord Alva, a senator of the College of Justice. On the death of her father in 1756 the family estates passed firstly to her brother George and then at his death to her in 1760. As the primary representative of the Auchyle branch of the Stirlings, who had settled in the area in the 15th century, Jean would have been a wealthy and influential heiress and probably a fair match for her significant husbands. Along with the Auchyle estate she inherited Herbertshire Castle, a 15th century hunting Lodge that had once belonged to both the Dukes of Orkney and the Earls of Linlithgow, and from whom it passed to the Stirlings sometime in the 17th century, and was sold in 1768. Jean died a year after her husband in 1797, and, having had no children, the estates passed to her cousin Lieutenant-General Alexander Graham-Stirling (1769-1849) of nearby Duchray Castle.

Jean Stirling is depicted in this painting as a young child of just a few years, fashionably dressed in the Greco-Roman attire that was often deployed at this time. Artists embraced many of the attributes of the late baroque and together with a love of the developing Palladian style of the early 18th century drew inspirational, often poetic, visions. Set within a rocky, leafy, landscape, evocative of the arcadia of Inigo Jones, the small child exerts a presence that fails to be dominated by the splendour of the setting. Strikingly swathed in a reddish-pink toga, she reaches confidently towards the exotic parrot in the trees above her head; the rolling acres she is destined to one day inherit visible behind her through the break in the trees. Such evocations would have been truly appreciated by eager patrons, in this case the childs parents, who almost certainly would have commissioned this to hang in the main family home at Auchyle. The composition of this portrait closely resembles that by Sir Godfrey Kneller of Lord Euston painted in 1689.

","0330",[554],{"_87":551,"_88":552,"_89":553,"_90":66,"_91":66},[549,550],"2020-08-14T13:21:45",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},"Circa 1725 England","47 inches (119.38 cm)","58 inches (147.32 cm)",{"_93":555,"_95":556,"_97":66,"_89":557,"_88":557},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600593.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600593.jpg 397w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600593-251x316.jpg 251w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600593-337x424.jpg 337w",397,2226,"john-saunders-cardinal-antonio-barberini","John Saunders, Cardinal Antonio Barberini","https://cms.timothylangston.com/shop/pictures/portraits/john-saunders-cardinal-antonio-barberini/","/shop/pictures/portraits/john-saunders-cardinal-antonio-barberini/","

Pastel on paper; 15 ¾ by 11 ¾ in; 40 x 30 cm; inscribed, signed and dated reverse; held in an 19th century gilded frame
\nProvenance: Private Collection, England

John Saunders was an itinerant portrait pastellist working in England who appears to have been prolific but little evidence of this is now apparent. Practicing in Bath in the first quarter of the eighteenth century by 1730 he settled in London, along Fleet Street. It was here that he no doubt had access to prints such as the Nanteuil engraving which he copied for this portrait of Cardinal Antonio Barberini. Robert Nanteuil (c.1623-1678) completed the portrait of Barberini in 1663 and various engraved copies of the picture were in circulation soon after. Saunders appears to have enjoyed a certain level of business by copying the portraits of well known individuals and a similar portrait of Rembrandt (1722) indicates that he sought out engravings to copy. This pastel of Barberini is extensively annotated on the reverse by the artist and reads 'Cardinal Antoine Barberini of the Order of the Holy Ghost - Saunders Pinxit, London December 1731 after a print engraved by R. Nanteuil ad vivum et pinx = 1663'. His self portrait finished a year after this (1732) is in the National Portrait Gallery, London.

There is evidence to suggest that Saunders had some possible Jacobite sympathies and that he might have also travelled to America. Certainly no dated works exist after the 1750s and therefore we can assume he died soon after this time.

Born in Rome to Carlo Barberini and Costanza Magalotti, Antonio was elevated to cardinal by his uncle Pope Urban VIII in 1627, although publication was postponed until February, 1628. In 1630 he was made Legate in Urbino, and later in Avignon (1633). He assumed the post of Camerlengo of the Holy Roman Church in 1638. He was one of the leaders of the papal army during the Wars of Castro (1642-1644).
\nContemporaries widely commented about his very dissolute conduct during the pontificate of his uncle. According to Gregorio Leti, 'The great inclination he has had to women hath been no small blemish to his reputation'. Apparently he was involved in several affairs with lovers of both sexes. He became particularly intimate with the castrato singer Marc'Antonio Pasqualini in the early 1640s and contemporary testimony leaves little doubt that the 'veritable passion' the cardinal felt extended to more than Pasqualini's beautiful voice.

Soon after the ascension of Pope Innocent X Antonio was accused of financial abuses during the war of Castro and went into exile to Paris with his brothers Francesco and Taddeo, under the protection of Cardinal Mazarin. He reconciled with the Pope in 1653 and returned to Rome whereupon he changed from his dissolute lifestyle and devoted himself unconditionally to religion; he was ordained a priest and became strongly involved in the campaign against Jansenism; he was promoted to the suburbicarian see of Frascati (1655), and then of Palestrina (1661); he became Vice-Dean of the Sacred College of Cardinals in March 1671 - the dean at that time was his older brother Francesco. In 1653 Louis XIV of France nominated him bishop of Poitiers but this nomination had not been ratified by the Holy See and four years later the King transferred him to the see of Reims, an act confirmed by the Pope in 1667. For many years he served as Cardinal-Protector and Grand Almoner of the Kingdom of France and also a great patron of arts. He died in Nemi two days before his 64th birthday.

","

Pastel on paper; 15 ¾ by 11 ¾ in; 40 x 30 cm; inscribed, signed and dated reverse; held in an 19th century gilded frame
\nProvenance: Private Collection, England

John Saunders was an itinerant portrait pastellist working in England who appears to have been prolific but little evidence of this is now apparent. Practicing in Bath in the first quarter of the eighteenth century by 1730 he settled in London, along Fleet Street. It was here that he no doubt had access to prints such as the Nanteuil engraving which he copied for this portrait of Cardinal Antonio Barberini. Robert Nanteuil (c.1623-1678) completed the portrait of Barberini in 1663 and various engraved copies of the picture were in circulation soon after. Saunders appears to have enjoyed a certain level of business by copying the portraits of well known individuals and a similar portrait of Rembrandt (1722) indicates that he sought out engravings to copy. This pastel of Barberini is extensively annotated on the reverse by the artist and reads ‘Cardinal Antoine Barberini of the Order of the Holy Ghost – Saunders Pinxit, London December 1731 after a print engraved by R. Nanteuil ad vivum et pinx = 1663’. His self portrait finished a year after this (1732) is in the National Portrait Gallery, London.

Born in Rome to Carlo Barberini and Costanza Magalotti, Antonio was elevated to cardinal by his uncle Pope Urban VIII in 1627, although publication was postponed until February, 1628. In 1630 he was made Legate in Urbino, and later in Avignon (1633). He assumed the post of Camerlengo of the Holy Roman Church in 1638. He was one of the leaders of the papal army during the Wars of Castro (1642-1644).
\nContemporaries widely commented about his very dissolute conduct during the pontificate of his uncle. According to Gregorio Leti, ‘The great inclination he has had to women hath been no small blemish to his reputation’. Apparently he was involved in several affairs with lovers of both sexes. He became particularly intimate with the castrato singer Marc’Antonio Pasqualini in the early 1640s and contemporary testimony leaves little doubt that the ‘veritable passion’ the cardinal felt extended to more than Pasqualini’s beautiful voice.

Soon after the ascension of Pope Innocent X Antonio was accused of financial abuses during the war of Castro and went into exile to Paris with his brothers Francesco and Taddeo, under the protection of Cardinal Mazarin. He reconciled with the Pope in 1653 and returned to Rome whereupon he changed from his dissolute lifestyle and devoted himself unconditionally to religion; he was ordained a priest and became strongly involved in the campaign against Jansenism; he was promoted to the suburbicarian see of Frascati (1655), and then of Palestrina (1661); he became Vice-Dean of the Sacred College of Cardinals in March 1671 – the dean at that time was his older brother Francesco. In 1653 Louis XIV of France nominated him bishop of Poitiers but this nomination had not been ratified by the Holy See and four years later the King transferred him to the see of Reims, an act confirmed by the Pope in 1667. For many years he served as Cardinal-Protector and Grand Almoner of the Kingdom of France and also a great patron of arts. He died in Nemi two days before his 64th birthday.

","0331",[572],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[570,571],"2019-06-13T15:59:58",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":573,"_95":574,"_97":66,"_89":575,"_88":575},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600620.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600620.jpg 371w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600620-234x316.jpg 234w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600620-337x454.jpg 337w",371,2227,"jeremiah-davison-margaret-peg-woffington","Jeremiah Davison, Margaret Peg Woffington","https://cms.timothylangston.com/shop/pictures/portraits/jeremiah-davison-margaret-peg-woffington/","/shop/pictures/portraits/jeremiah-davison-margaret-peg-woffington/","

Margaret 'Peg' Woffington, was born in Dublin around 1714. Her charm and beauty as a child attracted much attention quickly resulting in her first stage role at the precocious age of 10. Her first important appearance was as Ophelia in 1737 in Dublin, followed by her greatest role, the male part of Sir Harry Windair in Farquhar's Constant Couple, which in 1740 led to her engagement by John Rich for Covent Garden, London. She was soon to become David Garrick's leading lady in London and Dublin from 174248 and her attachment to the leading stage actor and impresario was the most publicized of her numerous affairs. Ill health compelled her to retire in 1757, never to act again.

This previously unrecorded portrait study c.1745 depicts the actress in that of a regal role, with an ermine stole and pink robe, swathed around a thick white silk dress. She is possibly depicted as Queen Katherine from Shakespeare's 'Henry VIII' a play she is known to have starred in around the time of this portrait. Previously thought to depict the actress Catherine 'Kitty' Clive, a stage rival of Woffington, her portrait by Jeremiah Davison was originally with Horace Walpole and is now in the collection at Longleat. Fortunately the broad iconography now available of both actresses enables correct identification, however it is easy to see why confusion once existed; both were important actresses of the day; both Irish born; both keen rivals; both having been mistresses of David Garrick; there lives following very similar paths.

Jeremiah Davison was born in London of Scottish parents. He worked in London as a portrait painter and under the guidance of Joseph Van Aken he acquired considerable skill at the depiction of silks and fancy clothing material. In 1736 the Duke of Atholl encouraged him to settle in Edinburgh, where he established a successful practice for several years before returning to London. He died in Leicester Fields (Square) in 1745.

Exhibited:
\nBritish Antique Dealers Association Fair, London, 2008
\nStatements of Self-Importance - The Portrait in Europe 1660-1950, Langston Gallery, London, 2009

","

Margaret ‘Peg’ Woffington, was born in Dublin around 1714. Her charm and beauty as a child attracted much attention quickly resulting in her first stage role at the precocious age of 10. Her first important appearance was as Ophelia in 1737 in Dublin, followed by her greatest role, the male part of Sir Harry Windair in Farquhar’s Constant Couple, which in 1740 led to her engagement by John Rich for Covent Garden, London. She was soon to become David Garrick’s leading lady in London and Dublin from 174248 and her attachment to the leading stage actor and impresario was the most publicized of her numerous affairs. Ill health compelled her to retire in 1757, never to act again.

This previously unrecorded portrait study c.1745 depicts the actress in that of a regal role, with an ermine stole and pink robe, swathed around a thick white silk dress. She is possibly depicted as Queen Katherine from Shakespeare’s ‘Henry VIII’ a play she is known to have starred in around the time of this portrait. Previously thought to depict the actress Catherine ‘Kitty’ Clive, a stage rival of Woffington, her portrait by Jeremiah Davison was originally with Horace Walpole and is now in the collection at Longleat. Fortunately the broad iconography now available of both actresses enables correct identification, however it is easy to see why confusion once existed; both were important actresses of the day; both Irish born; both keen rivals; both having been mistresses of David Garrick; there lives following very similar paths.

Exhibited:
\nBritish Antique Dealers Association Fair, London, 2008
\nStatements of Self-Importance – The Portrait in Europe 1660-1950, Langston Gallery, London, 2009

","0332",[593,594],{"_87":590,"_88":591,"_89":592,"_90":66,"_91":-7},[588,589],"2024-05-30T13:24:13",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},"Circa 1745 England","29 inches (73.66 cm)","24 inches (60.96 cm)",{"_93":598,"_95":599,"_97":66,"_89":600,"_88":600},{"_93":595,"_95":596,"_97":66,"_89":597,"_88":597},"https://cms.timothylangston.com/wp-content/uploads/2019/06/643276.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/643276.jpg 689w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643276-265x316.jpg 265w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643276-337x402.jpg 337w",689,"https://cms.timothylangston.com/wp-content/uploads/2019/06/643275.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/643275.jpg 1122w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643275-247x316.jpg 247w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643275-1000x1282.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643275-337x432.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643275-799x1024.jpg 799w",1122,2228,"frans-van-der-mijn-self-portrait","Frans van der Mijn, Self Portrait","https://cms.timothylangston.com/shop/pictures/portraits/frans-van-der-mijn-self-portrait/","/shop/pictures/portraits/frans-van-der-mijn-self-portrait/","

Black and white chalks on paper; 11 ¾ by 9 ½ in; 30 x 23.5 cm; held in a mid-eighteenth century 'Hogarth' style carved wood frame
\nProvenance: Agnews, 1980; Philip Mould - Historical Portraits, 2002

Exhibited: The British Face: 400 years of British, Irish and Colonial Portraiture
\nNovember-December 2002, Historical Portraits, London.

With thanks to the art historian Neil Jeffares for his views concerning this portrait

Frans van der Mijn came from a prolific artistic family. His aunt and siblings were all artists, whilst his father Herman was an established still life and portrait painter, who was to work for both the Elector Palatine and the English court, where his sitters included Frederick Prince of Wales and William, Prince of Orange.

Van der Mijn was taught by his father and probably worked as his assistant for a period. He established himself as a popular portrait painter, initially in Amsterdam and The Hague, where he worked between 1742 and 1749, and then in England where he moved to around 1750. He exhibited at the Free Society from 1763-1772 and there is evidence to suggest that he worked not only in London but Cambridge and Norwich also.

This engaging portrait study was previously thought to be by Herman van der Mijn but this is unlikely. No drawings by him are known to exist and more importantly a pair of portrait drawings by Frans van der Mijn at the British Museum displays the same style and technique as the one presented here. This together with other similarities concerning the paper and the size suggest that this is definitely a work by the son rather than the father.

Also there is much to suggest that this could be a self portrait of the artist. The direct glance, the style of clothes and the moustache of the sitter, a convention of the 1660s in Amsterdam, but not of an eighteenth century English court painter, all strongly allude to the earlier self portraits of such painters as Rembrandt and Rubens. Given that the artist only travelled to England in 1750 van der Mijn's drawing is deliberately designed to remind us that he studied in Amsterdam where the memory of Rembrandt was still alive and in so doing amusingly associates himself with the great painter's legacy. Other artists around this time also relished such association none more so than Reynolds in his self-portraits in the robes of a Doctor of Civil Law in 1780

","

Black and white chalks on paper; 11 ¾ by 9 ½ in; 30 x 23.5 cm; held in a mid-eighteenth century ‘Hogarth’ style carved wood frame
\nProvenance: Agnews, 1980; Philip Mould – Historical Portraits, 2002

Exhibited: The British Face: 400 years of British, Irish and Colonial Portraiture
\nNovember-December 2002, Historical Portraits, London.

With thanks to the art historian Neil Jeffares for his views concerning this portrait

Also there is much to suggest that this could be a self portrait of the artist. The direct glance, the style of clothes and the moustache of the sitter, a convention of the 1660s in Amsterdam, but not of an eighteenth century English court painter, all strongly allude to the earlier self portraits of such painters as Rembrandt and Rubens. Given that the artist only travelled to England in 1750 van der Mijn’s drawing is deliberately designed to remind us that he studied in Amsterdam where the memory of Rembrandt was still alive and in so doing amusingly associates himself with the great painter’s legacy. Other artists around this time also relished such association none more so than Reynolds in his self-portraits in the robes of a Doctor of Civil Law in 1780

","0333",[615],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[613,614],"2019-06-13T16:00:00",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":616,"_95":617,"_97":66,"_89":471,"_88":471},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600628.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600628.jpg 389w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600628-246x316.jpg 246w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600628-337x433.jpg 337w",2229,"william-keable-portrait-of-a-gentleman","William Keable, Portrait of a Gentleman","https://cms.timothylangston.com/shop/pictures/portraits/william-keable-portrait-of-a-gentleman/","/shop/pictures/portraits/william-keable-portrait-of-a-gentleman/","

Oil on canvas; 30 by 25 in; 76 x 63.5 cm; held in an 18th century style carved giltwood frame
\nProvenance: Private Collection, England, as possibly Thomas Hudson; Philip Mould - Historical Portraits, 2006; Private Collection, England

Very few works by the painter William Keable are known to have survived and this intriguing portrait, discovered in recent years, is a rare addition to his oeuvre. His life is not well recorded but by the late 1740s he had established himself in London and in 1754 is listed as working at the second St Martin's Lane Academy where he would have encountered the young Thomas Gainsborough. Indeed there is enough evidence to suggest a friendship and certainly their associations extended to Keable being depicted within a group portrait of the late 1740s along with Peter Muilman and Charles Crokatt. An important early commission for Gainsborough, it is likely that it was instigated by Keable given Crokatt was the son of James Crokatt an important South Carolina merchant whose family friends and business associates, Mrs Benjamin Smith and her brother-in-law Thomas Smith Jr, sat for Keable in London in 1749 (Gibbes Museum of Art, U.S.A.). There is evidence to suggest he painted other American colonists from Charleston and might have painted Benjamin Smith himself when he visited England briefly in 1752, however these portraits appear not to have survived. Despite this it is sufficient to assume that Keable became known amongst these increasingly rich and influential merchants and benefitted socially and professionally as a result.

Another Charlestonian, Peter Manigault visited Luxborough Hall, James Crokatt's English country home in 1750. Possibly at this time Keable was proposed as an artist to paint his portrait, a view expressed earlier, no doubt, by the Smiths in Carolina. However Manigault wrote later 'I was advised to have it drawn by one Keble, that drew Tom Smith and several others that went over to Carolina, but upon seeing his paintings, I found that though his Likenesses (which is the easiest Part in doing a Picture) were some of them very good, yet his Paint seemed to be laid on with a Trowel, and looked more like Plaistering than Painting, you may guess at the Difference between Ramsay & Keble Painting, by the Difference of their Prices, What Ramsay demands Four & Twenty Guineas for, T'other humbly hopes you'll allow him Seven.' As a result of this thinking the commission went to Allan Ramsay instead who completed his portrait in 1751.

It is possible that these disparaging remarks made Keable take note as the portrait presented here displays aspects of composition and finish that is close to Ramsay's style of the period. The paint is much smoother than Manigault mentions - though his comments are somewhat exaggerated when comparison is made with Keable's other works - and the clarity of finish distinct and precise, the pose being equally redolent, though it is almost identical to Keable's confidently rendered self-portrait of a few years earlier. (Yale Center for British Art, U.S.A.). These points therefore suggest a slightly later date for this canvas than previously thought and indicate completion perhaps after Manigault's portrait.

Maybe due to a lack of steady patronage Keable left for Italy around 1761, perhaps in the belief that he could secure a stable living by depicting young nobles on the Grand Tour in the same way he had briefly established a following amongst American colonists visiting England. In 1770 he settled in Bologna and became a member of the Academia della Clementina where it is recorded he undertook some portrait commissions. He never again returned to England and died in January 1774. Not necessarily consistent, his style appears to vary with it known for him to also paint small full-lengths in the manner of Arthur Devis. Surviving works are scarce, apart from those known in museum collections, with others occasionally emerging on the art market as a greater understanding of his style is appreciated.

Reference: George C. Rogers 'Evolution of a Federalist: William Loughton Smith of Charleston (1758-1812)' Columbia, University of South Carolina Press, 1962

","

Oil on canvas; 30 by 25 in; 76 x 63.5 cm; held in an 18th century style carved giltwood frame
\nProvenance: Private Collection, England, as possibly Thomas Hudson; Philip Mould – Historical Portraits, 2006; Private Collection, England

Very few works by the painter William Keable are known to have survived and this intriguing portrait, discovered in recent years, is a rare addition to his oeuvre. His life is not well recorded but by the late 1740s he had established himself in London and in 1754 is listed as working at the second St Martin’s Lane Academy where he would have encountered the young Thomas Gainsborough. Indeed there is enough evidence to suggest a friendship and certainly their associations extended to Keable being depicted within a group portrait of the late 1740s along with Peter Muilman and Charles Crokatt. An important early commission for Gainsborough, it is likely that it was instigated by Keable given Crokatt was the son of James Crokatt an important South Carolina merchant whose family friends and business associates, Mrs Benjamin Smith and her brother-in-law Thomas Smith Jr, sat for Keable in London in 1749 (Gibbes Museum of Art, U.S.A.). There is evidence to suggest he painted other American colonists from Charleston and might have painted Benjamin Smith himself when he visited England briefly in 1752, however these portraits appear not to have survived. Despite this it is sufficient to assume that Keable became known amongst these increasingly rich and influential merchants and benefitted socially and professionally as a result.

Another Charlestonian, Peter Manigault visited Luxborough Hall, James Crokatt’s English country home in 1750. Possibly at this time Keable was proposed as an artist to paint his portrait, a view expressed earlier, no doubt, by the Smiths in Carolina. However Manigault wrote later ‘I was advised to have it drawn by one Keble, that drew Tom Smith and several others that went over to Carolina, but upon seeing his paintings, I found that though his Likenesses (which is the easiest Part in doing a Picture) were some of them very good, yet his Paint seemed to be laid on with a Trowel, and looked more like Plaistering than Painting, you may guess at the Difference between Ramsay & Keble Painting, by the Difference of their Prices, What Ramsay demands Four & Twenty Guineas for, T’other humbly hopes you’ll allow him Seven.’ As a result of this thinking the commission went to Allan Ramsay instead who completed his portrait in 1751.

It is possible that these disparaging remarks made Keable take note as the portrait presented here displays aspects of composition and finish that is close to Ramsay’s style of the period. The paint is much smoother than Manigault mentions – though his comments are somewhat exaggerated when comparison is made with Keable’s other works – and the clarity of finish distinct and precise, the pose being equally redolent, though it is almost identical to Keable’s confidently rendered self-portrait of a few years earlier. (Yale Center for British Art, U.S.A.). These points therefore suggest a slightly later date for this canvas than previously thought and indicate completion perhaps after Manigault’s portrait.

Reference: George C. Rogers ‘Evolution of a Federalist: William Loughton Smith of Charleston (1758-1812)’ Columbia, University of South Carolina Press, 1962

","0334",[632,633],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[630,631],"2019-06-13T16:00:02",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":637,"_95":638,"_97":66,"_89":639,"_88":639},{"_93":634,"_95":635,"_97":66,"_89":636,"_88":636},"https://cms.timothylangston.com/wp-content/uploads/2019/06/641849.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641849.jpg 1031w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641849-266x316.jpg 266w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641849-1000x1187.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641849-337x400.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641849-863x1024.jpg 863w",1031,"https://cms.timothylangston.com/wp-content/uploads/2019/06/600631.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600631.jpg 403w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600631-255x316.jpg 255w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600631-337x418.jpg 337w",403,2230,"italian-school-18th-century-cardinal-choiseul-de-beaupre-1707-1774","Italian School, 18th Century, Cardinal Choiseul de Beaupré 1707 - 1774","https://cms.timothylangston.com/shop/pictures/portraits/italian-school-18th-century-cardinal-choiseul-de-beaupre-1707-1774/","/shop/pictures/portraits/italian-school-18th-century-cardinal-choiseul-de-beaupre-1707-1774/","

Oil on canvas; 32 by 26 ins; 82 x 66 cm; held in an 18th century style frame
\nProvenance: European noble family until the early 20th century

Antoine Clériade de Choiseul-Beaupré was born on the 28th September 1707 at Chateau Daillecourt in the Haute-Marne region of France. He studied theology in Paris later being ordained and becoming Vicar-General of the Mende diocese. He was elected archbishop of Besançon, in March, 1755 and created Cardinal Priest by Pope Clement XIII in November 1761. He became Chaplain to the King of Poland in 1764 and went on to participate in the conclave of 1769 which elected Pope Clement XIV. He died on the 7th January, 1774 at Besançon and is buried in the Cathedral. Family details are obscure but his father appears to be Antoine, Comte de Choiseul, Marquis de Beaupré (1664-1726), a Lieutenant-General in the Kings Army who married Anne-Francoise Barillon Morangis in 1695.

The engaging broad face of the Cardinal, meticulously described by the artist's brush, contrasts well with the expanse of red fabric which constitutes the Mozzetta, the short elbow length cape. This expanse of colour significantly highlights the gold pectoral cross and with no other ornament in the composition conveys the sitter as a man of God unencumbered by worldly goods. Given that Clériade was created Cardinal in late 1761, and noting the apparent age of the sitter, this painting must have been undertaken sometime around this time, probably in Rome.

Choiseul de Beaupré was the elected archbishop in March 1755 and later created Cardinal Priest by Pope Clement XIII In November 1761. Several years later he became Chaplain to the King of Poland and went on to participate in the conclave of 1769 which elected the Pope Clement XIV. The portrait here depicts him as the new cardinal, made in 1761. Almost certainly painted in Rome, at that time, it depicts him with his grand robes and gold pectoral cross. The red mozzetta, the signifying aspect of all cardinals, is resplendently depicted with no other ornament in the composition. It conveys the sitter as a man of God, unencumbered by worldly goods.

An interesting aspect to this portrait is the facial expression and the details that we see there. He’s depicted here as a real man, showing us the strong nature of his personality, unlike portraits of the past. This means we can engage more fully with this particular one. He is a man, and a man of God also.

This interesting portrait came from a European noble family and was discovered recently. Pictures such as this are rarely to be found these days and as such it’s one of the rare treats of a dealer to come across something of this nature.

Reference: Salvator Miranda 'The Cardinals of the Holy Roman Church', Florida International University

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Oil on canvas; 32 by 26 ins; 82 x 66 cm; held in an 18th century style frame
\nProvenance: European noble family until the early 20th century

The engaging broad face of the Cardinal, meticulously described by the artist’s brush, contrasts well with the expanse of red fabric which constitutes the Mozzetta, the short elbow length cape. This expanse of colour significantly highlights the gold pectoral cross and with no other ornament in the composition conveys the sitter as a man of God unencumbered by worldly goods. Given that Clériade was created Cardinal in late 1761, and noting the apparent age of the sitter, this painting must have been undertaken sometime around this time, probably in Rome.

Reference: Salvator Miranda ‘The Cardinals of the Holy Roman Church’, Florida International University

","0335",[654],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[652,653],"2019-06-13T16:00:03",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":655,"_95":656,"_97":66,"_89":657,"_88":657},"https://cms.timothylangston.com/wp-content/uploads/2019/06/971765.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/971765.jpg 954w, https://cms.timothylangston.com/wp-content/uploads/2019/06/971765-251x316.jpg 251w, https://cms.timothylangston.com/wp-content/uploads/2019/06/971765-337x424.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/971765-814x1024.jpg 814w",954,2232,"christian-august-lorentzen-portrait-of-a-gentleman","Christian August Lorentzen, Portrait of a Gentleman","https://cms.timothylangston.com/shop/pictures/portraits/christian-august-lorentzen-portrait-of-a-gentleman/","/shop/pictures/portraits/christian-august-lorentzen-portrait-of-a-gentleman/","

Oil on canvas; 28 by 22 ins; 71 x 56 cm; held in original neo-classical gilt carved frame
\nProvenance: Restoration House, Kent, England

The son of a watchmaker from Sonderborg, Lorentzen arrived in Copenhagen around 1771 where he frequented the Royal Academy of Fine Arts. From 1779 to 1782 he travelled in Europe to develop his skills, visiting the Netherlands, Antwerp and Paris where he copied the old masters. In 1792 he traveled to Norway to paint prospects, but it was in the fields of portraiture and history painting that he was to make his name. In a number of paintings, such as Slaget på Reden (1801, Danish Museum of National History) and Den rædsomste nat (1807, Danish National Gallery), he documented key events from the English Wars between 1801 and 1814. At the same time he undertook commissions to depict a number of aristocrats and wealthy professionals, such as the portrait presented here.

As a professor at the Royal Academy in Copenhagen from 1803 until his death in 1828, he exercised great influence on the next generation of Danish painters such as Martinus Rørbye amongst others. Examples of his work can been seen in Denmark in the Royal Collections at Rosenborg and Frederiksborg

","0337",[671],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[669,670],"2019-06-13T16:00:05",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":672,"_95":673,"_97":66,"_89":674,"_88":674},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600672.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600672.jpg 382w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600672-241x316.jpg 241w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600672-337x441.jpg 337w",382,2233,"danish-school-hans-stahl-haagen","Danish School, Hans Stahl Haagen","https://cms.timothylangston.com/shop/pictures/portraits/danish-school-hans-stahl-haagen/","/shop/pictures/portraits/danish-school-hans-stahl-haagen/","

Pastel on paper; 13 ½ by 11 ½ in; 34 x 29 cm; held in original neo-classical carved and gilded frame
\nProvenance: Private Collection, Denmark

Haagen is recorded as Chief of Police in Copenhagen during 1800-1809 and therefore over-saw a difficult period during the Napoleonic wars. At the time Denmark was pursuing a status of neutrality and had joined the League of Armed Neutrality with Russia, Sweden and Prussia. Unfortunately the British considered this a hostile act and attacked Copenhagen in both 1801 and more devastatingly in 1807, in a pre-emptive strike to seize the Danish-Norwegian fleet. The British landed 30,000 men and surrounded Copenhagen, the attack lasting three days and resulting in the death of at least 2,000 civilians and the destruction of large parts of the city. Haagen must have been placed in an impossible position as the city was subjected to a bombardment of rockets which caused mass destruction and heavy fires.

The present portrait shows the influence of such Danish artists as Hans Hansen (1769-1828) and Christian Horneman (1765-1844) and depicts Hagen seated turning away from his desk in full uniform. Given the apparent age of the sitter and style of clothes the portrait must date closely to 1800.

","0338",[688],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[686,687],"2019-06-13T16:00:06",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":689,"_95":690,"_97":66,"_89":691,"_88":691},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600673.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600673.jpg 428w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600673-270x316.jpg 270w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600673-337x394.jpg 337w",428,2234,"john-hoppner-maria-langford-brooke","John Hoppner, Maria Langford-Brooke","https://cms.timothylangston.com/shop/pictures/portraits/john-hoppner-maria-langford-brooke/","/shop/pictures/portraits/john-hoppner-maria-langford-brooke/","

Oil on canvas; 30 by 25 in; 76 x 63.5 cm; held in an early 19th century gilt frame
\nProvenance: Langford-Brooke family, Mere Hall, Cheshire, England, and by descent until 1994; Christies, 23rd May 1994, lot 263; Private Collection, Cheshire, England

Maria was the daughter of Rev. Sir Thomas Broughton (1744-1813) of Broughton and Doddington Hall, Cheshire and Mary Wicker (1748-1785) and married Thomas Langford-Brooke (1769-1815) of Mere Hall, Cheshire in January 1790. On the death of his brother in 1784 Brooke inherited his maternal grandfather's plantation in Antigua as well as the family estate in Cheshire and with this good fortune initiated plans for the redevelopment of the Hall by Samuel Wyatt. These ideas never materialsed but the house was reworked around 1813 in the style of a classical villa, which Maria would have witnessed for a short time before the death of her husband in 1815.

Maria's brother-in-law, Jonas Brooke embarked on the Grand Tour across Europe to Italy in 1783 and whilst in Naples and Rome made his first purchases of works of art. His acquisitions increased during the journey through Italy and later these were to form the nucleus of the tasteful and stylish Regency period interiors that Mere Hall became renowned for. No doubt to balance with this Thomas commissioned some of the smartest portraitists of the age to depict family members, himself being painted by James Northcote in 1803, and this picture of his wife, by John Hoppner was probably finished around the same time. Stylistically Hoppner has employed a vibrancy of approach, almost dashed in execution, concentrating on the face and speedily indicating elements of the clothes with broad, lively brush strokes. It corresponds well in approach and composition with a portrait of Mary Calcroft (Sotheby's 15th July, 1998).

Along with Gainsborough and Reynolds, Hoppner was one of the leading portrait painters in late eighteenth-century Britain. Born in London in April 1758, he entered the Royal Academy Schools in 1775, winning a gold medal in 1782. A regular contributor to the Royal Academy exhibitions he quickly established himself as a fashionable portraitist being appointed painter to the Prince of Wales in 1789. At first inspired by the later works of Reynolds, he soon developed an individual style that is distinguished by a fresh palette of colour combined with a spontaneity of approach. From the 1790s he was also the only serious rival to the young Lawrence and with him was responsible for painting the finest Romantic portraits of the Regency period; evolving from the classicism of Reynolds, these paintings increasingly depict individuals with emotion, character and a greater sense of realism.

The Brooke, later Langford Brooke, family lived at Mere from the middle of the 17th century until the early 1990s. The last male heir, Colonel Ronald Langford-Brooke, died in 1980 and his wife in 1993. In 1994 the entire estate and contents of the house were put up for sale.

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Maria was the daughter of Rev. Sir Thomas Broughton (1744-1813) of Broughton and Doddington Hall, Cheshire and Mary Wicker (1748-1785) and married Thomas Langford-Brooke (1769-1815) of Mere Hall, Cheshire in January 1790. On the death of his brother in 1784 Brooke inherited his maternal grandfather’s plantation in Antigua as well as the family estate in Cheshire and with this good fortune initiated plans for the redevelopment of the Hall by Samuel Wyatt. These ideas never materialsed but the house was reworked around 1813 in the style of a classical villa, which Maria would have witnessed for a short time before the death of her husband in 1815.

Maria’s brother-in-law, Jonas Brooke embarked on the Grand Tour across Europe to Italy in 1783 and whilst in Naples and Rome made his first purchases of works of art. His acquisitions increased during the journey through Italy and later these were to form the nucleus of the tasteful and stylish Regency period interiors that Mere Hall became renowned for. No doubt to balance with this Thomas commissioned some of the smartest portraitists of the age to depict family members, himself being painted by James Northcote in 1803, and this picture of his wife, by John Hoppner was probably finished around the same time. Stylistically Hoppner has employed a vibrancy of approach, almost dashed in execution, concentrating on the face and speedily indicating elements of the clothes with broad, lively brush strokes. It corresponds well in approach and composition with a portrait of Mary Calcroft (Sotheby’s 15th July, 1998).

","0339",[706,707],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[704,705],"2019-06-13T16:00:08",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":711,"_95":712,"_97":66,"_89":713,"_88":713},{"_93":708,"_95":709,"_97":66,"_89":710,"_88":710},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642379.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642379.jpg 1402w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642379-265x316.jpg 265w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642379-1000x1190.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642379-337x401.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642379-1232x1467.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642379-860x1024.jpg 860w",1402,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642373.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642373.jpg 1206w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642373-263x316.jpg 263w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642373-1000x1203.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642373-337x405.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642373-851x1024.jpg 851w",1206,2235,"circle-of-henry-bone-gaston-duc-dorleans","Circle of Henry Bone, Gaston Duc d'Orleans","https://cms.timothylangston.com/shop/pictures/portraits/circle-of-henry-bone-gaston-duc-dorleans/","/shop/pictures/portraits/circle-of-henry-bone-gaston-duc-dorleans/","

Enamel on Copper; inscribed reverse; in period frame; entire 9 by 8 ins; 23 x 20 cm.
\nProvenance: Private Collection, Sussex, England

The style of this portrait is very similar to the work of Henry Bone (1755-1834) England's greatest enamellist of the late 18th and early 19th centuries. So close in approach to the master that it probably is an example of someone working in his studio. Typical of his historic subject matter it is a portrait of the brother of Louis XIII depicted around 1630.

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Enamel on Copper; inscribed reverse; in period frame; entire 9 by 8 ins; 23 x 20 cm.
\nProvenance: Private Collection, Sussex, England

The style of this portrait is very similar to the work of Henry Bone (1755-1834) England’s greatest enamellist of the late 18th and early 19th centuries. So close in approach to the master that it probably is an example of someone working in his studio. Typical of his historic subject matter it is a portrait of the brother of Louis XIII depicted around 1630.

","0340",[729],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[727,728],"2019-06-13T15:59:51","2019-06-13T16:00:09",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":730,"_95":731,"_97":66,"_89":557,"_88":557},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600685.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600685.jpg 397w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600685-251x316.jpg 251w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600685-337x424.jpg 337w",2236,"johann-schlesinger-portrait-of-a-gentleman","Johann Schlesinger, Portrait of a Gentleman","https://cms.timothylangston.com/shop/pictures/portraits/johann-schlesinger-portrait-of-a-gentleman/","/shop/pictures/portraits/johann-schlesinger-portrait-of-a-gentleman/","

Oil on canvas; 13 by 11 in; 33 x 28 cm; signed and dated 1816; held in an early 19th century Biedemeier style wood frame
\nProvenance: Private Collection, Belgium

Hailing from a family of painters, Johann Schlesinger was born in Ebertsheim and initially taught by his father of the same name. Known for his still life work he went on to establish a fairly successful portrait practice, tending to favour small scale studies of character, such as the portrait presented here. Always with a provincial manner these charming works are worthy depictions of the middle classes living in the Rhineland Palatinate, then part of the Holy Roman Empire. Both father and son worked for the rulers, the Princes of Leiningen, and were kept busy with commissions for churches as well as private portraits.

","0341",[745],{"_87":66,"_88":66,"_89":66,"_90":66,"_91":66},[743,744],"2019-09-24T12:02:38",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":746,"_95":747,"_97":66,"_89":748,"_88":748},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600753.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600753.jpg 408w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600753-258x316.jpg 258w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600753-337x413.jpg 337w",408,2237,"catherine-kitty-stephens-later-countess-of-essex","Attributed George Henry Harlow, Catherine 'Kitty' Stephens, later Countess of Essex","https://cms.timothylangston.com/shop/pictures/portraits/catherine-kitty-stephens-later-countess-of-essex/","/shop/pictures/portraits/catherine-kitty-stephens-later-countess-of-essex/","

Watercolour and pencil on paper; 14 by 11 in; 35.5 x 27.5 cm; held in a gilt wood period frame with decorative card mount
\nProvenance: Private Collection, Ireland

Catherine Stephens was an English soprano and actress, and daughter of Edward Stephens, carver/gilder, of Grosvenor Square, London and caused a society scandal when she became the Countess of Essex in 1838.

In 1807 she began to study singing with Gesualdo Lanza under whose care she appeared in various provincial towns. After 1822 she took small parts with an Italian opera company at the Pantheon in London and later that year studied with Thomas Welsh. On 23 September 1813 she made a successful debut at Covent Garden as Mandane in Arne's Artaxerxes, and continued to sing there until 1822 when she transferred to Drury lane and the English opera house. She did return to Covent Garden in 1828, as well as touring the British Isles.

Stephens had a penchant for singing Mozart and often selected numbers from his operas as concert pieces as well as singing Zerlinda and Susanna in the first English adaptations held at Covent Garden of `Don Giovanni' in 1817 and `Le Nozze de Figaro' in 1819. Her reputation throughout her career was one of purity and chastity though both Lord Milton and the Duke of Devonshire were said to have been amongst her suitors. In 1835 she retired from the stage having amassed a considerable fortune. She caused a society scandal when in April 1838 she married the recently widowed Earl of Essex in his London house in Belqrave Square, where she continued to live for the rest of her life. The Earl died a year after the marriage.

This portrait has long thought to be the sketch used for the mezzotint engraved by William Say and published by Edward Orme in 1816, though Harlow is not known to have worked in watercolour and his sketches are often signed. That said, Harlow depicted Stephens several times - due to her popularity the desire for new images of the singer was great - therefore it is possible that for quickness he completed this watercolour with the intention of immediate transition to an engraved plate and therefore did not sign it.

George Henry Harlow began his artistic career under the instruction of Sir Thomas Lawrence, president of the Royal Academy and the leading portraitist of the time. During his two-year apprenticeship, Harlow copied the works of his master, instilling a rich knowledge of portraiture upon the young artist in the style of his teacher --romantic, polished, and theatrical. Upon an introduction from Lawrence, Harlow began to exhibit at the Royal Academy in 1804, and went on to produce portraits of notable figures from actors and fellow artists to the Prince of Wales, the future George IV, which were recognized for their excellence across various media, including oil, chalk, pencil, and crayon.

","

Watercolour and pencil on paper; 14 by 11 in; 35.5 x 27.5 cm; held in a gilt wood period frame with decorative card mount
\nProvenance: Private Collection, Ireland

In 1807 she began to study singing with Gesualdo Lanza under whose care she appeared in various provincial towns. After 1822 she took small parts with an Italian opera company at the Pantheon in London and later that year studied with Thomas Welsh. On 23 September 1813 she made a successful debut at Covent Garden as Mandane in Arne’s Artaxerxes, and continued to sing there until 1822 when she transferred to Drury lane and the English opera house. She did return to Covent Garden in 1828, as well as touring the British Isles.

Stephens had a penchant for singing Mozart and often selected numbers from his operas as concert pieces as well as singing Zerlinda and Susanna in the first English adaptations held at Covent Garden of `Don Giovanni’ in 1817 and `Le Nozze de Figaro’ in 1819. Her reputation throughout her career was one of purity and chastity though both Lord Milton and the Duke of Devonshire were said to have been amongst her suitors. In 1835 she retired from the stage having amassed a considerable fortune. She caused a society scandal when in April 1838 she married the recently widowed Earl of Essex in his London house in Belqrave Square, where she continued to live for the rest of her life. The Earl died a year after the marriage.

This portrait has long thought to be the sketch used for the mezzotint engraved by William Say and published by Edward Orme in 1816, though Harlow is not known to have worked in watercolour and his sketches are often signed. That said, Harlow depicted Stephens several times – due to her popularity the desire for new images of the singer was great – therefore it is possible that for quickness he completed this watercolour with the intention of immediate transition to an engraved plate and therefore did not sign it.

George Henry Harlow began his artistic career under the instruction of Sir Thomas Lawrence, president of the Royal Academy and the leading portraitist of the time. During his two-year apprenticeship, Harlow copied the works of his master, instilling a rich knowledge of portraiture upon the young artist in the style of his teacher –romantic, polished, and theatrical. Upon an introduction from Lawrence, Harlow began to exhibit at the Royal Academy in 1804, and went on to produce portraits of notable figures from actors and fellow artists to the Prince of Wales, the future George IV, which were recognized for their excellence across various media, including oil, chalk, pencil, and crayon.

","0342",[763,764],{"_87":66,"_88":66,"_89":66,"_90":66,"_91":66},[761,762],"2022-02-18T16:28:10",{"_49":352,"_53":353,"_51":354},{"_49":424,"_53":425,"_51":426},{"_93":767,"_95":768,"_97":66,"_89":769,"_88":769},{"_93":765,"_95":766,"_97":66,"_89":430,"_88":430},"https://cms.timothylangston.com/wp-content/uploads/2019/06/600791.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/600791.jpg 399w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600791-252x316.jpg 252w, https://cms.timothylangston.com/wp-content/uploads/2019/06/600791-337x422.jpg 337w","https://cms.timothylangston.com/wp-content/uploads/2019/06/642359.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642359.jpg 1102w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642359-274x316.jpg 274w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642359-1000x1155.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642359-337x389.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642359-886x1024.jpg 886w",1102,2262,"a-17th-century-imari-vase","A 17th Century Imari Vase","https://cms.timothylangston.com/shop/objects/vases/a-17th-century-imari-vase/","/shop/objects/vases/a-17th-century-imari-vase/","

A fine late seventeenth century Imari vase of good scale, the fine stylised floral decoration in red, blue and gold glazes upon a white ground.

This vase is a good example of Imari porcelain, produced at the end of the seventeenth century for the European market. The clarity provided by the white ground gives additional strength to the sparse floral decoration and the variety of blue tones gives visual depth to the design. This vase would have formed part of a garniture within a grand residence, most probably placed upon a lacquer chest - a tremendous symbol of wealth in an age where society had become obsessed with the Orient and its treasures.

","

A fine late seventeenth century Imari vase of good scale, the fine stylised floral decoration in red, blue and gold glazes upon a white ground.

This vase is a good example of Imari porcelain, produced at the end of the seventeenth century for the European market. The clarity provided by the white ground gives additional strength to the sparse floral decoration and the variety of blue tones gives visual depth to the design. This vase would have formed part of a garniture within a grand residence, most probably placed upon a lacquer chest – a tremendous symbol of wealth in an age where society had become obsessed with the Orient and its treasures.

","0344",[785,786,787],{"_87":-7,"_88":-7,"_89":-7,"_90":-7,"_91":-7},[783,784],"2019-06-13T16:00:12","2019-06-13T16:00:18",{"_49":112,"_53":113,"_51":114},{"_49":292,"_53":293,"_51":294},{"_93":794,"_95":795,"_97":66,"_89":790,"_88":790},{"_93":791,"_95":792,"_97":66,"_89":793,"_88":793},{"_93":788,"_95":789,"_97":66,"_89":790,"_88":790},"https://cms.timothylangston.com/wp-content/uploads/2019/06/602139.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/602139.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602139-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602139-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602139-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602139-100x100.jpg 100w",768,"https://cms.timothylangston.com/wp-content/uploads/2019/06/602141.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/602141.jpg 633w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602141-260x316.jpg 260w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602141-337x409.jpg 337w",633,"https://cms.timothylangston.com/wp-content/uploads/2019/06/602140.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/602140.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602140-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602140-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602140-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/602140-100x100.jpg 100w"]