A pair of nineteenth century Canton vases now mounted as lamps.

Chinese Canton porcelain was manufactured and fired in the kilns of Ching-Te Chen. From there, works were taken to the port at Canton, where finishing touches were applied by local artists and goods were shipped to Europe and America. The large central panel, usually depicting interior or exterior scenes, is one of the trademarks of Canton porcelain as opposed to other Chinese Export porcelain of the same time.

This pair is lively in subject matter and more muted as well as understated in colour than other examples of Canton porcelain, which makes them particularly interesting to contemporary European tastes. Each lamp is adorned with two small false gilt handles in the shape of fu lions.

","metaDescription","ref","0116 (42)","price","","inStock",false,"images",[94],"metadata",{"_86":87,"_88":89,"_90":91,"_92":65,"_93":-7},"categories",[78,79],"datePublished","2019-06-13T15:50:25","dateModified","2026-06-10T16:22:06",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},499,"Pairs of Lamps","pairs-lamps",24,"Lighting","lighting","year","Circa 1890 China","height","13 inches (33.02 cm)","width","24.00inches","depth","diameter",{"_95":96,"_97":98,"_99":65,"_90":100,"_88":100},"src","https://cms.timothylangston.com/wp-content/uploads/2019/06/483622.jpg","srcSet","https://cms.timothylangston.com/wp-content/uploads/2019/06/483622.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483622-100x100.jpg 100w","alt",2500,1735,"an-orange-glazed-and-gilt-vase-with-cover","An Orange Glazed and Gilt Vase with Cover","https://cms.timothylangston.com/shop/objects/ceramics/an-orange-glazed-and-gilt-vase-with-cover/","/shop/objects/ceramics/an-orange-glazed-and-gilt-vase-with-cover/","

An nineteenth century orange glazed and gilded vase of baluster form with its original cover.

Qing Dynasty, Emperor Xianfeng (1850-1861)

","0117 (41)",[126],{"_86":124,"_88":125,"_90":65,"_92":65,"_93":-7},[112,113,114],"2022-04-06T19:53:59",{"_49":121,"_53":122,"_51":123},{"_49":118,"_53":119,"_51":120},{"_49":115,"_53":116,"_51":117},19,"Vases","vases",17,"Objects","objects",18,"Ceramics","ceramics","Circa 1860 China","14 inches (35.56 cm)",{"_95":127,"_97":128,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/483621.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/483621.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483621-100x100.jpg 100w",1736,"a-pair-of-qing-dynasty-canton-vases","A Pair of Qing Dynasty Canton Vases","https://cms.timothylangston.com/shop/objects/ceramics/a-pair-of-qing-dynasty-canton-vases/","/shop/objects/ceramics/a-pair-of-qing-dynasty-canton-vases/","

A pair of nineteenth century Canton vases of good scale decorated with alternating panels depicting court scenes and exotic wildlife.

This pair is of particularly vibrant colour and engaging design. Further, they are of good hight and well balanced proportion.

","0120 (08)",[143],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[140,141,142],"2019-06-13T15:51:44",{"_49":121,"_53":122,"_51":123},{"_49":118,"_53":119,"_51":120},{"_49":115,"_53":116,"_51":117},{"_95":144,"_97":145,"_99":65,"_90":146,"_88":146},"https://cms.timothylangston.com/wp-content/uploads/2019/06/483619.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/483619.jpg 2448w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/483619-100x100.jpg 100w",2448,1745,"a-pair-of-blue-white-porcelain-ginger-jars","A Pair of Blue & White Porcelain Ginger Jars","https://cms.timothylangston.com/shop/objects/ceramics/a-pair-of-blue-white-porcelain-ginger-jars/","/shop/objects/ceramics/a-pair-of-blue-white-porcelain-ginger-jars/","

A pair of nineteenth century ginger jars of bulbous form, decorated with stylised flora and fauna

","0119 (39)",[162],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[159,160,161],"2019-06-13T15:50:45","2019-06-13T15:51:47",{"_49":118,"_53":119,"_51":120},{"_49":121,"_53":122,"_51":123},{"_49":115,"_53":116,"_51":117},{"_95":163,"_97":164,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/424975.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/424975.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/424975-100x100.jpg 100w",1746,"a-pair-of-vintage-glass-table-lamps","A Pair of Vintage Glass Table Lamps","https://cms.timothylangston.com/shop/lighting/pairs-lamps/a-pair-of-vintage-glass-table-lamps/","/shop/lighting/pairs-lamps/a-pair-of-vintage-glass-table-lamps/","

A mid-20th Century pair of glass table lamps of small scale. For a console table or bedside lighting

","0123",[178],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[176,177],"2026-06-10T13:51:48",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},{"_95":179,"_97":180,"_99":65,"_90":181,"_88":181},"https://cms.timothylangston.com/wp-content/uploads/2019/06/429236.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/429236.jpg 960w, https://cms.timothylangston.com/wp-content/uploads/2019/06/429236-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/429236-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/429236-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/429236-100x100.jpg 100w",960,1747,"geraniums-by-henri-cauchois-signed-michel-aaron","Geraniums by Henri Cauchois (signed Michel Aaron)","https://cms.timothylangston.com/shop/pictures/portraits/geraniums-by-henri-cauchois-signed-michel-aaron/","/shop/pictures/portraits/geraniums-by-henri-cauchois-signed-michel-aaron/","

A late nineteenth century still life oil depicting geraniums in a vase. Henri Cauchois signed himself Michel Aaron on occasion - as in this example

Signed/Inscribed: Michel Aaron 1878

","

A late nineteenth century still life oil depicting geraniums in a vase. Henri Cauchois signed himself Michel Aaron on occasion – as in this example

","0124",[202],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[194,195],"2019-06-13T15:51:51",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},21,"Portraits","portraits",20,"Pictures","pictures",{"_95":203,"_97":204,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/436627.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/436627.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/436627-100x100.jpg 100w",1748,"john-hoppner-1758-1810","John Hoppner (1758-1810)","https://cms.timothylangston.com/shop/pictures/portraits/john-hoppner-1758-1810/","/shop/pictures/portraits/john-hoppner-1758-1810/","

Peter Leopold, 5th Earl Cowper (1778-1837)

Peter Leopold Louis Francis Nassau Clavering-Cowper was the second son of George, 3rd Earl Cowper and Anne, daughter of Charles Gore of Horkstowe, Lincolnshire. His father, an art collector and patron, spent a large portion of his life in Italy, with Peter born in Florence in May 1778; his godfather being the Grand Duke of Tuscany, later Leopold II, Holy Roman Emperor. In 1781 he was sent to England for his education along with his two brothers, staying with various family relations until old enough to be sent to Eton. He graduated from Christ Church, Oxford in 1797 and progressed to the Middle Temple, inheriting the Earldom on the early death of his brother George in 1799. Soon after he decided the family needed a house worthy of their status and set about creating a country mansion to display the outstanding art treasures his father had amassed during his life in Italy. Seeking advice from Humphrey Repton the old house at Cole Green Park was demolished in 1801 and a suitable design created, and site found, for the new mansion at Panshanger, Hertfordshire which was completed in fashionable Regency gothic style from 1806-1809. Disinterested in political intrigue and frivolous social trivia, he appears to have drawn immense satisfaction in the task of creating Panshanger and the aesthetic decisions such a project involved.

Elected a Fellow of the Royal Society Cowper appears, like his father who supported the physicist Alessandro Volta, to have been intrigued by scientific thought as well as artistic endeavour; a true child of the Enlightenment. Lord Campbell (1779-1861), politician, lawyer and man of letters observed that 'He had too much delicacy of sentiment to take a leading part in public life but...from him I received a kind and encouraging notice when I was poor and obscure; and his benevolent and exhilarating smile is one of the most delightful images in my memory...'

Cowper married in 1805 the Hon. Emily Mary Lamb, only surviving daughter of Peniston Lamb, 1st Viscount Melbourne, with whom he had three sons and two daughters. He died in June 1837.

The portrait was probably started within the last five years of Hoppner's life and remained unfinished at his death in 1810; troubled with ill health Hoppner's output at this time was erratic. The Cowper family employed the painter John Jackson (1778-1831) to undertake finishing some of these incomplete canvasses and in this instance he appears to have reduced the original canvas to the standard 30 by 25 inch format and completed the peer's robes accordingly. It seems likely that it was intended as the pendant to the slightly larger portrait by Hoppner of Cowper's wife, Emily which was also finished by Jackson around the same time. Both Sir Thomas Lawrence and James Northcote also undertook portrait commissions of the 5th Earl in his peer's robes, which together with this portrait adorned the walls of Panshanger until the early 1950s.

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.

Provenance: Provenance: Purchased by Henry Cowper (1758-1840) after Hoppner's studio auction, Christie's 31st May, 1823, lot 29; then by descent to Rev. Henry M. Pratt (1855-1934) from whom purchased c.1900 for £200 by Francis, 7th Earl Cowper (1834-1905) for Panshanger House, Hertfordshire (North Library); then by descent to his niece Ethel, Lady Desborough (1867-1952); then by descent to her daughter Monica, Lady Salmond (1893-1973); then by descent to her daughter, Rosemary, Lady Ravensdale(1928-1991); then by descent in the Mosley family

Literature: McKay & Roberts: 'John Hoppner R.A.', Colnaghi & Bell, 1909, p.58
\nHugh Belsey: 'The Cowper Collection', unpublished dissertation, University of Birmingham, 1982

","

Peter Leopold, 5th Earl Cowper (1778-1837)

Elected a Fellow of the Royal Society Cowper appears, like his father who supported the physicist Alessandro Volta, to have been intrigued by scientific thought as well as artistic endeavour; a true child of the Enlightenment. Lord Campbell (1779-1861), politician, lawyer and man of letters observed that ‘He had too much delicacy of sentiment to take a leading part in public life but…from him I received a kind and encouraging notice when I was poor and obscure; and his benevolent and exhilarating smile is one of the most delightful images in my memory…’

Cowper married in 1805 the Hon. Emily Mary Lamb, only surviving daughter of Peniston Lamb, 1st Viscount Melbourne, with whom he had three sons and two daughters. He died in June 1837.

The portrait was probably started within the last five years of Hoppner’s life and remained unfinished at his death in 1810; troubled with ill health Hoppner’s output at this time was erratic. The Cowper family employed the painter John Jackson (1778-1831) to undertake finishing some of these incomplete canvasses and in this instance he appears to have reduced the original canvas to the standard 30 by 25 inch format and completed the peer’s robes accordingly. It seems likely that it was intended as the pendant to the slightly larger portrait by Hoppner of Cowper’s wife, Emily which was also finished by Jackson around the same time. Both Sir Thomas Lawrence and James Northcote also undertook portrait commissions of the 5th Earl in his peer’s robes, which together with this portrait adorned the walls of Panshanger until the early 1950s.

","0127",[219],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[217,218],"2019-06-13T15:50:46",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":220,"_97":221,"_99":65,"_90":222,"_88":222},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455300.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455300.jpg 416w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455300-263x316.jpg 263w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455300-337x405.jpg 337w",416,1749,"thomas-barber-1771-1843","Thomas Barber (1771-1843)","https://cms.timothylangston.com/shop/pictures/portraits/thomas-barber-1771-1843/","/shop/pictures/portraits/thomas-barber-1771-1843/","

Colonel Sempronius Stretton (1781-1842)

Sempronius Stretton was born on 15th May, 1781, the eldest son of William Stretton (1755-1828) architect and antiquarian of Nottingham. He commenced his military career in April 1800 when he joined the Nottinghamshire Militia and in November entered the 6th Regiment of Foot at Chatham as an ensign. In April 1801 he took a lieutenancy in the 49th Regiment and shortly afterwards sailed for Quebec. He served under Colonel Isaac Brock as his aide-de-camp and during this time extensively recorded, through sketches, the indigenous population and burgeoning towns in rural Canada. In September 1806 he took a Captaincy in the 40th Regiment and returned to England.

In 1812 he sailed for Lisbon; his first engagement during the Peninsula campaign being Vittoria, on 21st June 1813, the battle that successfully ended the rule of Bonaparte's eldest brother Joseph as King of Spain. He helped lead the regiment in numerous other battles during the passage of the Pyrenees and in July 1813, Stretton received the thanks of the Duke of Wellington for the gallant defence made by the 40th, under his command, supported by two Portuguese regiments, in defending the position on the heights before Pampeluna. For this he was awarded the Army Gold Medal and received the brevet rank of Major. He was present in successive engagements with the enemy until the end of the Peninsula campaign with the battle of Toulouse on 10th April 1814, and the abdication of Napoleon.

When the army withdrew from France in 1814, Stretton accompanied his regiment to America and nearly lost his life when shipwrecked off the coast of Ireland in Bantry Bay. From Cork, Stretton sailed for the Mississippi River arriving on 9th January 1815, just missing the Battle of New Orleans, the last major engagement of the 'War of 1812'.

Returning to Portsmouth, the 40th then swiftly proceeded to Flanders, joining the army assembled near Brussels, in readiness for the Battle of Waterloo on 18th June 1815. As a commanding officer Stretton saw that the regiment held their ground against repeated attacks by French cavalry, infantry and guns, sometimes combined and sometimes separately. At times they were engaged by several columns of infantry at once, and were frequently surrounded by French cavalry, who became more and more desperate as the battle developed. Their position, some three hundred yards from the farm buildings of La Haie Sainte, was very exposed, particularly when the farm was eventually captured by the enemy. A French break-through in Wellington's centre appeared imminent, but despite the ferocity and persistence of the infantry assaults, the constant and destructive cannonade of the enemy guns, and the fire of the French tirailleurs on the rising ground to their front, the Regiment yielded not a foot of ground. On the arrival of the Allies in Paris, the Duke of Wellington, in acknowledgment of Major Stretton's services at Waterloo, appointed him commandant of the 5th Arrondissement, a position he held until the definitive treaty of peace was signed.

It is in this capacity that we see him in the portrait presented here. It is known that he returned from France to his family home Lenton Priory in Nottingham in the first half of 1816 and returned to Paris in August. Clearly it was during this period that he visited Thomas Barber's local studio to sit for what is probably the artist's best work. No doubt for this reason it was selected to be exhibited at the Royal Academy that year.

The following year Stretton was promoted brevet Lieutenant-Colonel for special services and later Colonel, retiring on half-pay in 1823. He was awarded the Army Gold medal for the battle of the Pyrenees, and the silver medal for Waterloo, both of which he proudly displays in this painting. Additionally he was made a Companion of the Order of the Bath, this being added later to the portrait together with the Military General Service medal, which he died before he could receive.

For many years, Stretton was a regular guest at the annual banquet given by the Duke of Wellington on the anniversary of the battle of Waterloo, and a portrait of him and all the other invitees is included in William Salter's 1836 painting of 'The Waterloo Banquet' at Apsley House. Also the National Portrait Gallery in London has a small three quarter length portrait of Stretton which was painted in preparation for Salter's painting. This portrait by Barber though is the best, presenting Stretton as a Major fresh from success at Waterloo, honoured by Wellington and confidently assisting in the military control of Napoleon's captured capital city, presenting us with an image which is at once dashing, elegant and memorable.

Stretton married in March 1821 the Hon. Catherine William, who was elder daughter of General the Right Hon. Nathaniel William, second Baron Clarina. She died suddenly four months after their marriage and later in October 1830 he married secondly the Hon. Anne Handcock, youngest daughter of the second Lord Castlemaine.

Thomas Barber was a Nottingham based portrait painter who showed early enough promise to study in London and assist Sir Thomas Lawrence, whose influence is clear. Given his ability, he founded a successful practice, and exhibited steadily in London at the Royal Academy from 1810 until 1829. During the Regency he moved for a time to Derby thus offering comfortable families in the Midlands and North of England an elegant portrait style, in convenient surroundings, at a fraction of the cost of London painters, such as Lawrence.

(Framed size)

Provenance: Provenance: Royal Academy, 1816; Lenton Priory, Nottingham; then by family descent through the sitter's brother Lt-Colonel Severus Stretton (1783-1884) until at least the 1940s; more recently an English private collection

Exhibitions: Exhibited: Royal Academy, London, 1816, no. 458

Literature: Richard Walker, 'Regency Portraits', NPG London, 1985, Vol I, p.486

Signed/Inscribed: Inscribed reverse

","

Colonel Sempronius Stretton (1781-1842)

In 1812 he sailed for Lisbon; his first engagement during the Peninsula campaign being Vittoria, on 21st June 1813, the battle that successfully ended the rule of Bonaparte’s eldest brother Joseph as King of Spain. He helped lead the regiment in numerous other battles during the passage of the Pyrenees and in July 1813, Stretton received the thanks of the Duke of Wellington for the gallant defence made by the 40th, under his command, supported by two Portuguese regiments, in defending the position on the heights before Pampeluna. For this he was awarded the Army Gold Medal and received the brevet rank of Major. He was present in successive engagements with the enemy until the end of the Peninsula campaign with the battle of Toulouse on 10th April 1814, and the abdication of Napoleon.

Returning to Portsmouth, the 40th then swiftly proceeded to Flanders, joining the army assembled near Brussels, in readiness for the Battle of Waterloo on 18th June 1815. As a commanding officer Stretton saw that the regiment held their ground against repeated attacks by French cavalry, infantry and guns, sometimes combined and sometimes separately. At times they were engaged by several columns of infantry at once, and were frequently surrounded by French cavalry, who became more and more desperate as the battle developed. Their position, some three hundred yards from the farm buildings of La Haie Sainte, was very exposed, particularly when the farm was eventually captured by the enemy. A French break-through in Wellington’s centre appeared imminent, but despite the ferocity and persistence of the infantry assaults, the constant and destructive cannonade of the enemy guns, and the fire of the French tirailleurs on the rising ground to their front, the Regiment yielded not a foot of ground. On the arrival of the Allies in Paris, the Duke of Wellington, in acknowledgment of Major Stretton’s services at Waterloo, appointed him commandant of the 5th Arrondissement, a position he held until the definitive treaty of peace was signed.

It is in this capacity that we see him in the portrait presented here. It is known that he returned from France to his family home Lenton Priory in Nottingham in the first half of 1816 and returned to Paris in August. Clearly it was during this period that he visited Thomas Barber’s local studio to sit for what is probably the artist’s best work. No doubt for this reason it was selected to be exhibited at the Royal Academy that year.

For many years, Stretton was a regular guest at the annual banquet given by the Duke of Wellington on the anniversary of the battle of Waterloo, and a portrait of him and all the other invitees is included in William Salter’s 1836 painting of ‘The Waterloo Banquet’ at Apsley House. Also the National Portrait Gallery in London has a small three quarter length portrait of Stretton which was painted in preparation for Salter’s painting. This portrait by Barber though is the best, presenting Stretton as a Major fresh from success at Waterloo, honoured by Wellington and confidently assisting in the military control of Napoleon’s captured capital city, presenting us with an image which is at once dashing, elegant and memorable.

(Framed size)

","0128",[237],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[235,236],"2019-06-13T15:51:54",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":238,"_97":239,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/490640.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490640.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490640-100x100.jpg 100w",1750,"thomas-beach-1738-1806","Thomas Beach (1738-1806)","https://cms.timothylangston.com/shop/pictures/portraits/thomas-beach-1738-1806/","/shop/pictures/portraits/thomas-beach-1738-1806/","

Sir Henry Dashwood Peyton (1736-1789)

Sir Henry Dashwood Peyton 1st Bt was the eldest son of George Dashwood (d.1762) and Margaret, daughter of Sir Sewster Peyton, 2nd Bt of Doddington Hall, Cambs. He married in December 1771 Frances (c.1751-1808), only child and heir of Sir John Rous, 5th Bt of Henham Hall Suffolk. He succeeded to the Peyton estates upon the death of his uncle in June 1771 and, in accordance with the injunction of his deceased uncle, assumed the surname and arms of Peyton. Through marriage the estates of his deceased father-in-law also devolved upon him, making him a man of some considerable fortune, with property and lands stretching across Cambridgeshire, Norfolk and Suffolk. As the original Peyton baronetcy had expired with his uncle he was newly created a baronet in September 1776.

In 1782 Peyton stood for Parliament on behalf of Cambridgeshire with the support of the Duke of Rutland and Lord Hardwicke and continued to represent that seat in the House of Commons until his death seven years later. He voted for parliamentary reform in 1783 and 1785 and was a supporter of the young William Pitt in his first administrations. Hardwicke wrote about him to Philip Yorke, the other county Member in May 1782, 'Sir Henry Peyton dislikes many of the things we do, short Parliaments, new modes of election, etc ... is no violent American, and shook his head about losing our authority in Ireland ... I rather take Sir Henry to be a moderate Tory'.

This portrait dates from around this time, exhibiting all the finer qualities of Thomas Beach's style from the earlier 1780s. It particularly shows the influence of his time with Joshua Reynolds, whose first assistant he became in 1760. Beach chooses to depict Peyton as an elegantly attired, man-about-town, rather than the country gentleman that he truly was, perhaps an indication that he sat for this portrait sometime after becoming an M.P. in 1782, conforming well to other known portraits completed at this time. The waistcoat alone, with the distinct pattern of green and white stripes, worn in this manner, is an indication of period, being the height of fashion from the early 1780s. The format also typifies the formula Beach had developed for half-length portraits by this time, placing the sitter in a feigned oval to the left and facing forwards to meet the gaze of the viewer. Though relatively simple compositionally, the portrait is sensitively handled, revealing a man with an intelligent face and kindly demeanor.

Born in Milton Abbas, Dorset in 1738, Beach became a pupil of Sir Joshua Reynolds in 1760 and about the same time enlisted as a student in the St.Martin's Lane Academy. On leaving his master he established himself in Bath, where he gained employment and repute as a portrait painter. From Bath he sent portraits to the exhibitions of the Incorporated Society of Artists (1772-83) whose President he became in 1783. He first began exhibiting at the Royal Academy in 1785, contributing portraits yearly up to 1797 and appears to have maintained a presence in both London and Bath for the greater part of his career.

As with his master Reynolds his associations with his sitters was not necessarily confined to the professional side, being known to have entertained in Bath in 1781 with a musical gathering at his house. Here fine society mingled, with his portraits adorning the walls, all lit to advantage: 'A fine light and shade being thrown upon the paintings, everyone found himself surrounded, as if by magic, by a number of his acquaintances, breathing in canvass...' (Horace Walpole). No doubt Beach hoped that in such a beguiling atmosphere further introductions and commissions might be forthcoming. Certainly, a wealthy landowner and M.P. such as Peyton would have frequented regularly both Bath and London and it seems likely that this portrait was undertaken during the Bath season, which ran from October until the following May. Peyton's wife had previously been painted by Gainsborough about ten years previously but by the early 1780s Beach was really the only portrait painter of note working in the city; the aging William Hoare effectively retired and the likes of Gainsborough, Wright of Derby and Robert Edge Pine having already departed, with the young Thomas Lawrence just starting to make a reputation with his pastels.

Works by Beach are to be found in many important collections including the National Portrait Gallery, London, the Royal Collection at Windsor Castle and the Walker Art Gallery, Liverpool.

Provenance: By descent to Rev. James Dashwood (d.1815), brother of the sitter; then to his son Rev. George Henry Dashwood (1801-1869); then to his heir Maj. Gen. William E.G. L. Bulwer (1830-1910) of Heydon Hall, Norfolk; gifted to his son Col. Edward A. E. Bulwer (1864-1934) of Quebec House and Heydon Grange, Norfolk in 1901; possibly K.H. Fielding & Son, Norwich, Heydon Hall auction 20th July 1949; St. Helier Galleries, 1980s; John Appleby Collection; and Private collection, Sussex, England

Literature: Prince Frederick Duleep Singh and Rev. Edmund Farrer,
\n'Portraits in Norfolk Houses', 1927, Vol. II, Quebec House, p.142, no. 32, by Thomas Beach

","

Sir Henry Dashwood Peyton (1736-1789)

In 1782 Peyton stood for Parliament on behalf of Cambridgeshire with the support of the Duke of Rutland and Lord Hardwicke and continued to represent that seat in the House of Commons until his death seven years later. He voted for parliamentary reform in 1783 and 1785 and was a supporter of the young William Pitt in his first administrations. Hardwicke wrote about him to Philip Yorke, the other county Member in May 1782, ‘Sir Henry Peyton dislikes many of the things we do, short Parliaments, new modes of election, etc … is no violent American, and shook his head about losing our authority in Ireland … I rather take Sir Henry to be a moderate Tory’.

This portrait dates from around this time, exhibiting all the finer qualities of Thomas Beach’s style from the earlier 1780s. It particularly shows the influence of his time with Joshua Reynolds, whose first assistant he became in 1760. Beach chooses to depict Peyton as an elegantly attired, man-about-town, rather than the country gentleman that he truly was, perhaps an indication that he sat for this portrait sometime after becoming an M.P. in 1782, conforming well to other known portraits completed at this time. The waistcoat alone, with the distinct pattern of green and white stripes, worn in this manner, is an indication of period, being the height of fashion from the early 1780s. The format also typifies the formula Beach had developed for half-length portraits by this time, placing the sitter in a feigned oval to the left and facing forwards to meet the gaze of the viewer. Though relatively simple compositionally, the portrait is sensitively handled, revealing a man with an intelligent face and kindly demeanor.

Born in Milton Abbas, Dorset in 1738, Beach became a pupil of Sir Joshua Reynolds in 1760 and about the same time enlisted as a student in the St.Martin’s Lane Academy. On leaving his master he established himself in Bath, where he gained employment and repute as a portrait painter. From Bath he sent portraits to the exhibitions of the Incorporated Society of Artists (1772-83) whose President he became in 1783. He first began exhibiting at the Royal Academy in 1785, contributing portraits yearly up to 1797 and appears to have maintained a presence in both London and Bath for the greater part of his career.

As with his master Reynolds his associations with his sitters was not necessarily confined to the professional side, being known to have entertained in Bath in 1781 with a musical gathering at his house. Here fine society mingled, with his portraits adorning the walls, all lit to advantage: ‘A fine light and shade being thrown upon the paintings, everyone found himself surrounded, as if by magic, by a number of his acquaintances, breathing in canvass…’ (Horace Walpole). No doubt Beach hoped that in such a beguiling atmosphere further introductions and commissions might be forthcoming. Certainly, a wealthy landowner and M.P. such as Peyton would have frequented regularly both Bath and London and it seems likely that this portrait was undertaken during the Bath season, which ran from October until the following May. Peyton’s wife had previously been painted by Gainsborough about ten years previously but by the early 1780s Beach was really the only portrait painter of note working in the city; the aging William Hoare effectively retired and the likes of Gainsborough, Wright of Derby and Robert Edge Pine having already departed, with the young Thomas Lawrence just starting to make a reputation with his pastels.

Works by Beach are to be found in many important collections including the National Portrait Gallery, London, the Royal Collection at Windsor Castle and the Walker Art Gallery, Liverpool.

","0129",[254,255],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[252,253],"2019-06-13T15:51:56",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":259,"_97":260,"_99":65,"_90":261,"_88":261},{"_95":256,"_97":257,"_99":65,"_90":258,"_88":258},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642390.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642390.jpg 1357w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642390-272x316.jpg 272w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642390-1000x1160.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642390-337x391.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642390-1232x1429.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642390-883x1024.jpg 883w",1357,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642389.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642389.jpg 1161w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642389-258x316.jpg 258w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642389-1000x1226.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642389-337x413.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642389-835x1024.jpg 835w",1161,1751,"john-francis-rigaud-1742-1810","John Francis Rigaud (1742-1810)","https://cms.timothylangston.com/shop/pictures/portraits/john-francis-rigaud-1742-1810/","/shop/pictures/portraits/john-francis-rigaud-1742-1810/","

James Williams (1768-1840)

James Williams, the son of John and Sarah Williams of Walthamstow, was a successful wine merchant who lived in a fashionable Georgian town house in Lea Terrace, Blackheath, London. With offices based in Crosby Hall Chambers in the city and at the docks in Bristol his business predominantly imported, wine, brandy and sherry from Southern Europe. Painted around 1800, Williams is shown seated at his desk with many papers, caught whilst checking through some orders, presented at once as both industrious and businesslike. The informal pose suggests a man relaxed and at ease with himself, whilst the use of chiaroscuro in the composition displays the influence of the painter's time in Italy.

Williams's offices were at the chambers at Crosby Hall a medieval house, built in 1466 in Bishopsgate, City of London by the wool merchant John Crosby. A series of illustrious occupants followed, including Richard, Duke of Gloucester, Sir Thomas More, Sir Walter Raleigh and the Earl of Northampton. In 1621 it became the headquarters of the East India Company but following a catastrophic fire in 1672, the building eventually became a Presbyterian meeting house and subsequently a warehouse, rented to businesses, including Williams wine merchants. Due to re-development in Bishopsgate the remains of the hall with its minstrels' gallery and richly carved ceiling, was carefully taken down and re-erected in Cheyne Walk, Chelsea, in 1910.

John Francis Rigaud was born in Turin and studied there with the history painter Claudio Beaumont. After traveling variously in Italy he completed his training in Rome where he met James Barry (1741-1806), who may have been responsible for suggesting he move to London in 1771. Not only did he quickly find success as a portraitist but also as an architectural painter receiving many commissions for neo-classical ceilings and other decorative schemes. In 1782 he completed his famous triple portrait of fellow Academicians Sir William Chambers, Joseph Wilton and Sir Joshua Reynolds now at the National Portrait Gallery, London. He exhibited regularly at the Royal Academy where he was elected a full member in 1784.

Provenance: Private Collection, England

Signed/Inscribed: Signed 'J.F.Rigaud pinx' lower right corner

","

James Williams (1768-1840)

Williams’s offices were at the chambers at Crosby Hall a medieval house, built in 1466 in Bishopsgate, City of London by the wool merchant John Crosby. A series of illustrious occupants followed, including Richard, Duke of Gloucester, Sir Thomas More, Sir Walter Raleigh and the Earl of Northampton. In 1621 it became the headquarters of the East India Company but following a catastrophic fire in 1672, the building eventually became a Presbyterian meeting house and subsequently a warehouse, rented to businesses, including Williams wine merchants. Due to re-development in Bishopsgate the remains of the hall with its minstrels’ gallery and richly carved ceiling, was carefully taken down and re-erected in Cheyne Walk, Chelsea, in 1910.

","0130",[276],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[274,275],"2019-06-13T15:51:57",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":277,"_97":278,"_99":65,"_90":279,"_88":279},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455467.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455467.jpg 420w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455467-265x316.jpg 265w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455467-337x401.jpg 337w",420,1752,"albertus-jacob-frans-gregorius-1774-1853","Albertus Jacob Frans Grégorius (1774-1853)","https://cms.timothylangston.com/shop/pictures/portraits/albertus-jacob-frans-gregorius-1774-1853/","/shop/pictures/portraits/albertus-jacob-frans-gregorius-1774-1853/","

Louis Charles d'Orléans, Duc de Beaujolais (1779-1808)

Louis Charles d'Orléans, Comte de Beaujolais was born at the Palais-Royal in Paris. He was the third and youngest son of Philippe d'Orléans, Duc d'Orléans (1747-1793) later known as Philippe Égalité, and Louise Marie Adélaïde de Bourbon, (1753-1821), the greatest heiress of the age being the only surviving child of the vastly wealthy Duc de Penthièvre. He was the younger brother of the last King of the French, Louis-Philippe I.

In April 1793 Louis Charles was arrested with his father and imprisoned at Fort-Saint-Jean in Marseille. During his imprisonment he contracted tuberculosis, a condition which eventually caused his death. His father was executed during the Reign of Terror in November 1793. Louis Charles remained imprisoned until August 1796 when the Directoire decided to exile him and his brother Antoine to Philadelphia, where surprisingly the French chargé d'affaires settled upon Louis-Charles an annual pension of 15,000 francs. Six months later they were joined by their older brother, the future King, Louis Philippe and together they travelled around the east coast of America to New York City, Philadelphia, Boston, Maine and Nashville. At the end of 1797, in an attempt to return to Europe to meet their mother who was exiled in Spain, they were captured by the British in the Gulf of Mexico en route from New Orleans to Cuba. After spending a year in Cuba, they were expelled by the Spanish, so decided to sail to England via New York and Nova Scotia arriving in January 1800, where they settled at Twickenham, outside London.

In September 1804 Louis Charles joined the British Royal Navy, but the tuberculosis which he had contracted in his imprisonment a decade earlier, hindered his aspirations. In 1808, in an attempt to improve his health, his older brother Louis Philippe accompanied him on a voyage to Gibraltar, Sicily and finally Malta. However, his health continued to deteriorate and he died a fortnight after his arrival on the island. His funeral took place in June 1808; ten years later his body was buried in St. John's Co-Cathedral in Valletta.

This portrait is a version of a pastel drawn by James Sharples in New York in 1797, which was listed in the Orleans collection at the Palais-Royal, 1838. Painted in 1823 by the Dutchman Albertus Grégorius, a pupil of the great Neo-Classical French painter Jacques Louis David, his influence can clearly be seen in this, and his other portraits of the period. The reverse of the painting is extensively inscribed and bears the Royal mark of the Comte de Paris, 'LPO' surmounted by a coronet, with a similar mark of provenance for Chateau d'Eu. The Comte de Paris was the grandson of King Louis Philippe and great-nephew of Louis Charles.

Grégorius exhibited fairly regularly at the Paris Salon from 1812-1835 concentrating exclusively on portraiture and is recorded as painting Napoleon, Louis XVIII, Charles X and Louis-Philippe. He painted another portrait of Louis Charles in 1818 which was copied by Charles François Phelippes in 1838 and is now at Versailles. Examples of his other work in Europe can be found in France at Versailles, the Palais-Royal, and Chateau d'Eu, and in Belgium at the Groenigemuseum, Bruges.

Provenance: The Orléans Royal Family: Chateau d'Eu; Louis-Phillippe, Comte de Paris (1838-1894); a deceased's estate, 2003; private collection, England.

Signed/Inscribed: Inscribed reverse.

","

Louis Charles d’Orléans, Duc de Beaujolais (1779-1808)

Louis Charles d’Orléans, Comte de Beaujolais was born at the Palais-Royal in Paris. He was the third and youngest son of Philippe d’Orléans, Duc d’Orléans (1747-1793) later known as Philippe Égalité, and Louise Marie Adélaïde de Bourbon, (1753-1821), the greatest heiress of the age being the only surviving child of the vastly wealthy Duc de Penthièvre. He was the younger brother of the last King of the French, Louis-Philippe I.

In April 1793 Louis Charles was arrested with his father and imprisoned at Fort-Saint-Jean in Marseille. During his imprisonment he contracted tuberculosis, a condition which eventually caused his death. His father was executed during the Reign of Terror in November 1793. Louis Charles remained imprisoned until August 1796 when the Directoire decided to exile him and his brother Antoine to Philadelphia, where surprisingly the French chargé d’affaires settled upon Louis-Charles an annual pension of 15,000 francs. Six months later they were joined by their older brother, the future King, Louis Philippe and together they travelled around the east coast of America to New York City, Philadelphia, Boston, Maine and Nashville. At the end of 1797, in an attempt to return to Europe to meet their mother who was exiled in Spain, they were captured by the British in the Gulf of Mexico en route from New Orleans to Cuba. After spending a year in Cuba, they were expelled by the Spanish, so decided to sail to England via New York and Nova Scotia arriving in January 1800, where they settled at Twickenham, outside London.

This portrait is a version of a pastel drawn by James Sharples in New York in 1797, which was listed in the Orleans collection at the Palais-Royal, 1838. Painted in 1823 by the Dutchman Albertus Grégorius, a pupil of the great Neo-Classical French painter Jacques Louis David, his influence can clearly be seen in this, and his other portraits of the period. The reverse of the painting is extensively inscribed and bears the Royal mark of the Comte de Paris, ‘LPO’ surmounted by a coronet, with a similar mark of provenance for Chateau d’Eu. The Comte de Paris was the grandson of King Louis Philippe and great-nephew of Louis Charles.

","0131",[294,295],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[292,293],"2019-06-13T15:51:59",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":299,"_97":300,"_99":65,"_90":301,"_88":301},{"_95":296,"_97":297,"_99":65,"_90":298,"_88":298},"https://cms.timothylangston.com/wp-content/uploads/2019/06/641853.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641853.jpg 1476w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641853-267x316.jpg 267w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641853-1000x1185.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641853-337x399.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641853-1232x1460.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641853-864x1024.jpg 864w",1476,"https://cms.timothylangston.com/wp-content/uploads/2019/06/641852.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641852.jpg 1126w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641852-254x316.jpg 254w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641852-1000x1245.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641852-337x420.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641852-822x1024.jpg 822w",1126,1761,"james-latham-1696-1747","James Latham (1696-1747) Portrait of Fulwar, 4th Baron Craven (c.1700-1764)","https://cms.timothylangston.com/shop/pictures/portraits/james-latham-1696-1747/","/shop/pictures/portraits/james-latham-1696-1747/","

Fulwar, 4th Baron Craven (c.1700-1764)

We have been grateful to Latham scholar and Irish art connoisseur Desmond Fitzgerald, Knight of Glin, for his views concerning this portrait.

Born between 1700 and 1704 Fulwar Craven was the younger son of William, 2nd Baron Craven, by his wife Elizabeth Skipwith, after whose brother Sir Fulwar Skipwith he was presumably named. Educated at Rugby School and Magdalen College, Oxford, he became High Steward of Newbury, and was about to stand for Parliament for Berkshire when his brother's death in 1739 brought him the Barony of Craven. Famously fond of racing and hunting, he kept his own stud and founded the racecourse at Lambourn. He also founded the Craven Hunt, and regularly rode to hounds on his Berkshire estates of Hamstead Marshall and Ashdown Park, depicted as such in James Seymour's A Kill at Ashdown Park, 1743 (Tate Britain). When not drawn to Berkshire for these country pursuits he resided at the family estate of Coombe Abbey, in Warwickshire. He died on 10 November 1764 and was buried at Hamstead Marshall; unmarried and without children he was succeeded by his nephew William.

Latham was born in Thurles, Co. Tipperary, Ireland. He studied for a year in Antwerp (1724-25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin, writing in the 1790s, memorably dubbed Latham 'Ireland's Van Dyck'. He died in Dublin on 26 January 1747. Several of his portraits are in the National Gallery of Ireland.

In this portrait Latham has depicted Fulwar Craven at the age of about forty, shortly after succeeding to the barony. If the painter travelled to London, as has been suggested, then this commission could have been undertaken during that time. Equally equestrian interests could have taken Craven to Dublin and possibly the artist's studio. Either way, this portrait, with its skillful rendering of the embroidery of the clothes and expressive nature of the sitter, is characteristic of the artist's portraiture of the 1740s.

Provenance: By family descent

Unframed: 30 inches (76.20 cm) x 24 1/2 inches (62.23 cm)

","

Fulwar, 4th Baron Craven (c.1700-1764)

I am grateful to Latham scholar and Irish art connoisseur Desmond Fitzgerald, Knight of Glin, for his views concerning this portrait.

Born between 1700 and 1704 Fulwar Craven was the younger son of William, 2nd Baron Craven, by his wife Elizabeth Skipwith, after whose brother Sir Fulwar Skipwith he was presumably named. Educated at Rugby School and Magdalen College, Oxford, he became High Steward of Newbury, and was about to stand for Parliament for Berkshire when his brother’s death in 1739 brought him the Barony of Craven. Famously fond of racing and hunting, he kept his own stud and founded the racecourse at Lambourn. He also founded the Craven Hunt, and regularly rode to hounds on his Berkshire estates of Hamstead Marshall and Ashdown Park, depicted as such in James Seymour’s A Kill at Ashdown Park, 1743 (Tate Britain). When not drawn to Berkshire for these country pursuits he resided at the family estate of Coombe Abbey, in Warwickshire. He died on 10 November 1764 and was buried at Hamstead Marshall; unmarried and without children he was succeeded by his nephew William.

Latham was born in Thurles, Co. Tipperary, Ireland. He studied for a year in Antwerp (1724-25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin, writing in the 1790s, memorably dubbed Latham ‘Ireland’s Van Dyck’. He died in Dublin on 26 January 1747. Several of his portraits are in the National Gallery of Ireland.

In this portrait Latham has depicted Fulwar Craven at the age of about forty, shortly after succeeding to the barony. If the painter travelled to London, as has been suggested, then this commission could have been undertaken during that time. Equally equestrian interests could have taken Craven to Dublin and possibly the artist’s studio. Either way, this portrait, with its skillful rendering of the embroidery of the clothes and expressive nature of the sitter, is characteristic of the artist’s portraiture of the 1740s.

","0132",[321],{"_86":317,"_88":318,"_90":319,"_92":320,"_93":65},[315,316],"2019-06-13T15:51:07","2021-04-19T17:05:25",{"_49":196,"_53":197,"_51":198},{"_49":199,"_53":200,"_51":201},"Circa 1740 England","34 1/2 inches (88 cm)","29 inches (74 cm)","2 1/2 inches (6 cm)",{"_95":322,"_97":323,"_99":304,"_90":324,"_88":324},"https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-scaled.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-scaled.jpg 2560w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/Image-05-11-2020-at-13.49-100x100.jpg 100w",2560,1762,"follower-of-william-wissing","Follower of William Wissing,","https://cms.timothylangston.com/shop/pictures/portraits/follower-of-william-wissing/","/shop/pictures/portraits/follower-of-william-wissing/","

Portrait of a Lady

This charming portrait of a lady was previously believed to be by Sir Peter Lely but is actually closest in style to that of his chief assistant William Wissing, who moved from the Hague to England in 1676. After Lely's death in 1680, he emerged as his most important pupil and quickly became a strong rival to the ruling portraitist of the period Godfrey Kneller.

Swathed in silk, the lady in this portrait moves forward to us whilst a parrot playfully engages her. The bird is no doubt an allegory based on purity as the parrot in earlier times was linked to virginity and features in early representations of the Garden of Eden, such as Durer's great early sixteenth-century engraving of `The Fall of Man'. Later in Holland, parrots stood for status, becoming the avian equivalent of the tulip - brightly coloured, highly sought after and subtly symbolic of the reach and spread of Dutch maritime trade and economic power.

These are innocent parrots but later representations of the bird are fraught with erotic meaning. During the seventeenth and eighteenth centuries, the parrot - having once symbolised Eve - became instead an image of sexual lust and longing. And so in this portrait we see a blushing young lady, dressed in the purity of white silk, staring directly at us whilst the bird she almost caresses looks out at the spectator with a sharp, proprietorial gaze.

Provenance: Hon John Gordon M.P.(1850-1915); Rev. J. M. Apperley, 1904; Private Collection, England

","

Portrait of a Lady

This charming portrait of a lady was previously believed to be by Sir Peter Lely but is actually closest in style to that of his chief assistant William Wissing, who moved from the Hague to England in 1676. After Lely’s death in 1680, he emerged as his most important pupil and quickly became a strong rival to the ruling portraitist of the period Godfrey Kneller.

Swathed in silk, the lady in this portrait moves forward to us whilst a parrot playfully engages her. The bird is no doubt an allegory based on purity as the parrot in earlier times was linked to virginity and features in early representations of the Garden of Eden, such as Durer’s great early sixteenth-century engraving of `The Fall of Man’. Later in Holland, parrots stood for status, becoming the avian equivalent of the tulip – brightly coloured, highly sought after and subtly symbolic of the reach and spread of Dutch maritime trade and economic power.

These are innocent parrots but later representations of the bird are fraught with erotic meaning. During the seventeenth and eighteenth centuries, the parrot – having once symbolised Eve – became instead an image of sexual lust and longing. And so in this portrait we see a blushing young lady, dressed in the purity of white silk, staring directly at us whilst the bird she almost caresses looks out at the spectator with a sharp, proprietorial gaze.

","0133",[339],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[337,338],"2019-06-13T15:52:01",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":340,"_97":341,"_99":65,"_90":342,"_88":342},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455698.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455698.jpg 399w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455698-252x316.jpg 252w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455698-337x422.jpg 337w",399,1763,"circle-of-nicolas-de-largillierre","Circle of Nicolas de Largillierre","https://cms.timothylangston.com/shop/pictures/portraits/circle-of-nicolas-de-largillierre/","/shop/pictures/portraits/circle-of-nicolas-de-largillierre/","

Portrait of a Gentleman

This painting is similar in format, size and style to several works emanating from Largilliere's studio which were copies of his known larger portraits, such as 'Portrait d'une femme en Diane', Lyons, Musee des Beaux-Arts. Largilliere - like many eighteenth century portrait painters - developed and employed a standard repertory of poses and figure types from which his clients could choose when commissioning their portraits; it does not detract from his originality that he worked in this manner, his paintings still being the most penetrating and realistically characterized of any French artist working in the first half of the eighteenth century.

Many assistants worked within his studio, some employed in either copying or producing individual works. Sometimes these would be small in scale, such as the portrait presented here, meant either as a preparatory image or finished portrait in its own right, all were significantly indebted to the master. Other painters of the period are known to have executed similar works such as François de Troy, Hyacinthe Rigaud and Largilliere's chief pupil Jean-Baptiste Oudy. Resplendent in large wig and swathed in a blue silk mantle this portrait probably depicts a wealthy middle class gentleman, a stable client for Largilliere's studio. The confident application of paint and the subtle flesh tones together with an adroit handling of the surface textures all displays the hand of an accomplished assistant.

Following his early training in Antwerp and London, Nicolas de Largilliere (1656-1746) established himself in Paris, becoming one of the most successful portrait painters of the second half of Louis XIV's reign. Although patronized by the Court, most of his sitters came from the wealthy middle classes and by the end of his career he had produced approximately some 1500 portraits. In 1734-5 and again in 1738-42 he was Directeur of the Academie Royale de Peinture et de Sculpture; his influence on French portraiture during this period being immense.

Provenance: Private Collection, England

","

Portrait of a Gentleman

This painting is similar in format, size and style to several works emanating from Largilliere’s studio which were copies of his known larger portraits, such as ‘Portrait d’une femme en Diane’, Lyons, Musee des Beaux-Arts. Largilliere – like many eighteenth century portrait painters – developed and employed a standard repertory of poses and figure types from which his clients could choose when commissioning their portraits; it does not detract from his originality that he worked in this manner, his paintings still being the most penetrating and realistically characterized of any French artist working in the first half of the eighteenth century.

Many assistants worked within his studio, some employed in either copying or producing individual works. Sometimes these would be small in scale, such as the portrait presented here, meant either as a preparatory image or finished portrait in its own right, all were significantly indebted to the master. Other painters of the period are known to have executed similar works such as François de Troy, Hyacinthe Rigaud and Largilliere’s chief pupil Jean-Baptiste Oudy. Resplendent in large wig and swathed in a blue silk mantle this portrait probably depicts a wealthy middle class gentleman, a stable client for Largilliere’s studio. The confident application of paint and the subtle flesh tones together with an adroit handling of the surface textures all displays the hand of an accomplished assistant.

Following his early training in Antwerp and London, Nicolas de Largilliere (1656-1746) established himself in Paris, becoming one of the most successful portrait painters of the second half of Louis XIV’s reign. Although patronized by the Court, most of his sitters came from the wealthy middle classes and by the end of his career he had produced approximately some 1500 portraits. In 1734-5 and again in 1738-42 he was Directeur of the Academie Royale de Peinture et de Sculpture; his influence on French portraiture during this period being immense.

","0134",[357,358],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[355,356],"2019-06-13T15:52:03",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":362,"_97":363,"_99":65,"_90":364,"_88":364},{"_95":359,"_97":360,"_99":65,"_90":361,"_88":361},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642384.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642384.jpg 1483w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642384-283x316.jpg 283w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642384-1000x1116.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642384-337x376.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642384-1232x1375.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642384-918x1024.jpg 918w",1483,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642383.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642383.jpg 971w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642383-258x316.jpg 258w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642383-337x413.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642383-836x1024.jpg 836w",971,1764,"after-maurice-quentin-de-la-tour","After Maurice- Quentin de La Tour","https://cms.timothylangston.com/shop/pictures/portraits/after-maurice-quentin-de-la-tour/","/shop/pictures/portraits/after-maurice-quentin-de-la-tour/","

Portrait of a Gentleman

This fine pastel sketch of the head of a French gentleman is directly drawn from the original by La Tour now in the Musee Antoine Lecuyer, Saint Quentin, France. It conforms precisely with that version and as such was probably finished by a studio assistant. As the art historian and pastel specialist Neil Jeffares observes though, 'a good many repetitions of La Tour's works were made in his lifetime: some are evidently autograph (and it by no means follows that the first version is the best). Others may be contemporary copies by unrelated artists. A substantial proportion however were probably made by pupils working under his guidance...unlike most pastellists La Tour evidently has a substantial studio and the practices and names of those involved have yet to be fully uncovered.' Certainly the skilful observation and the apparent spontaneity mark this out as an accomplished work and by an artist well aware of the techniques of La Tour.

Finished pastels emerged as a format for portraiture in France in the late 17th century and by the middle of the 18th century Maurice-Quentin de La Tour was among the most celebrated and accomplished portraitists in the medium. His considerable success led to commissions from the royal family, the court, the rich bourgeoisie and from literary, artistic and theatrical circles.

Initially apprenticed as a painter he was soon attracted to the immediacy and rapid execution of pastel. By the late 1720s he had broken into the Parisian art market and in 1735, established his reputation with a pastel of Voltaire. This portrait displayed the liveliness, informality, and virtuoso technique that would characterize much his later work. Seeking to enhance the prestige of pastel to that of traditional oil painting, La Tour developed new approaches to the medium by pioneering, amongst other things, the use of adhesives and joining multiple sheets of paper for surfaces so large that they had no precedent, certainly not in drawing. In 1737 he caused a sensation by being the only artist to exhibit pastels at the Salon, one a self-portrait and the other a portrait of the wife of artist François Boucher. Towards the end of his immensely successful career La Tour had amassed a substantial fortune and founded an art school and several charitable organisations

La Tour's extensive oeuvre contains many outstanding pictures and his sketches, such as the copy presented here demonstrate well his remarkable technical mastery.

Provenance: Private Collection, England

","

Portrait of a Gentleman

This fine pastel sketch of the head of a French gentleman is directly drawn from the original by La Tour now in the Musee Antoine Lecuyer, Saint Quentin, France. It conforms precisely with that version and as such was probably finished by a studio assistant. As the art historian and pastel specialist Neil Jeffares observes though, ‘a good many repetitions of La Tour’s works were made in his lifetime: some are evidently autograph (and it by no means follows that the first version is the best). Others may be contemporary copies by unrelated artists. A substantial proportion however were probably made by pupils working under his guidance…unlike most pastellists La Tour evidently has a substantial studio and the practices and names of those involved have yet to be fully uncovered.’ Certainly the skilful observation and the apparent spontaneity mark this out as an accomplished work and by an artist well aware of the techniques of La Tour.

La Tour’s extensive oeuvre contains many outstanding pictures and his sketches, such as the copy presented here demonstrate well his remarkable technical mastery.

","0135",[379],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[377,378],"2019-06-13T15:52:04",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":380,"_97":381,"_99":65,"_90":382,"_88":382},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455725.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455725.jpg 400w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455725-253x316.jpg 253w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455725-337x421.jpg 337w",400,1765,"after-maurice-quentin-de-la-tour-2","After Maurice-Quentin de La Tour","https://cms.timothylangston.com/shop/pictures/portraits/after-maurice-quentin-de-la-tour-2/","/shop/pictures/portraits/after-maurice-quentin-de-la-tour-2/","

Mlle de Chastagner de Lagrange (b. 1741)

This fine pastel sketch of the head of Mlle de Chastagner de Lagrange is directly drawn from the original by La Tour now in the Musee Antoine Lecuyer, Saint Quentin, France. It conforms precisely with that version and as such was probably finished by a studio assistant. As the art historian and pastel specialist Neil Jeffares observes though, 'a good many repetitions of La Tour's works were made in his lifetime: some are evidently autograph (and it by no means follows that the first version is the best). Others may be contemporary copies by unrelated artists. A substantial proportion however were probably made by pupils working under his guidance...unlike most pastellists La Tour evidently has a substantial studio and the practices and names of those involved have yet to be fully uncovered.' Certainly the skilful observation and the apparent spontaneity mark this out as an accomplished work and by an artist well aware of the techniques of La Tour.

La Tour's extensive oeuvre contains many outstanding pictures and his sketches, such as the copy presented here demonstrate well his remarkable technical mastery.

Provenance: Private Collection, England

","

Mlle de Chastagner de Lagrange (b. 1741)

This fine pastel sketch of the head of Mlle de Chastagner de Lagrange is directly drawn from the original by La Tour now in the Musee Antoine Lecuyer, Saint Quentin, France. It conforms precisely with that version and as such was probably finished by a studio assistant. As the art historian and pastel specialist Neil Jeffares observes though, ‘a good many repetitions of La Tour’s works were made in his lifetime: some are evidently autograph (and it by no means follows that the first version is the best). Others may be contemporary copies by unrelated artists. A substantial proportion however were probably made by pupils working under his guidance…unlike most pastellists La Tour evidently has a substantial studio and the practices and names of those involved have yet to be fully uncovered.’ Certainly the skilful observation and the apparent spontaneity mark this out as an accomplished work and by an artist well aware of the techniques of La Tour.

La Tour’s extensive oeuvre contains many outstanding pictures and his sketches, such as the copy presented here demonstrate well his remarkable technical mastery.

","0136",[397],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[395,396],"2019-06-13T15:52:05",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":398,"_97":399,"_99":65,"_90":400,"_88":400},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455738.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455738.jpg 406w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455738-257x316.jpg 257w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455738-337x415.jpg 337w",406,1766,"karl-josef-agricola-1779-1852","Karl Josef Agricola (1779-1852)","https://cms.timothylangston.com/shop/pictures/portraits/karl-josef-agricola-1779-1852/","/shop/pictures/portraits/karl-josef-agricola-1779-1852/","

Anton I, Prince Esterhazy (1738-1794) & Maria Theresia, Countess Erdödy (1745-1782)

Sold as a Pair

The House of Esterházy was a Hungarian noble family that rose to significance during the 17th century, becoming one of the great landowner magnates of the Kingdom of Hungary, during the time it was part of the Habsburg Empire and later Austria-Hungary. In 1626 the Esterházys were granted the title of Count and in 1712, received the title of Prince by the Holy Roman Emperor. The success of the family arose from the steady accumulation of land, and loyalty both to the Roman Catholic Church and to the Habsburg Emperor.

At the time of Anton's birth his father Count Nikolaus Esterházy was a successful general and lieutenant field marshal in Austrian service who would later achieve distinction at the Battle of Kolin (1757) in the Seven Years War. When his brother died without heirs, Nikolaus acquired the family patrimony, becoming the fifth prince in the Esterházy line. As such, he inherited considerable wealth with which he built the magnificent palace of Esterháza in Hungary and patronized the arts, in particular supporting the endeavours of composer Joseph Haydn.

Anton served in his father's regiment during the Seven Years War and at one point was taken prisoner by the enemy. He was then promoted to Captain (1763) and later to Field Marshal Lieutenant (1780), eventually becoming head of the regiment. He was also Colonel and Proprietor of the 31st Infantry Regiment (1777-1780); Colonel and Proprietor of the 34th Infantry Regiment (1780-1794); Captain of the Hungarian Noble Life Guard (1791-1794) and commanded an autonomous corps on the Upper Rhine at the beginning of the War of the First Coalition.

Anton I (1738-1794) married first, in 1763, Maria Theresia, Countess Erdödy e Monyorokerek et Monoszlo (1745-1782) and secondly in 1785 Maria Anna Gräfin von Hohenfeld (1768-1848). He succeeded as Prince on the death of his father in 1783.

In these finely detailed portraits by the Viennese artist Karl Josef Agricola, Anton's first wife Maria Theresia is seen tenderly cradling their first child Nikolaus, born in 1765 and later becoming the seventh Prince Esterházy. Anton is richly attired proudly displaying, anachronistically, his Order of the Golden Fleece. Agricola maybe was commissioned to paint the portraits by a relative or friend of the Esterházy family; the sitters are depicted c.1765 while the artist completed them in 1835. Therefore it is possible that they were finished for perhaps a family group of portraits that needed their inclusion to make sense schematically. Whatever the reason, the artist has risen to the occasion and produced colourful, highly finished works that demonstrate his abilities as a painter and miniaturist.

Carl Joseph Alois Agricola (1779-1852) was born in Säckingen, southern Germany and moved to Vienna in 1793, a city he was to live in all his life. From 1793 to 1798 he attended the local academy and initially worked as a graphic artist copying paintings of the Old Masters such as Raphael and Poussin, subjects which he also engraved. Indeed, he appears to have flourished as an etcher and engraver producing both portraits and genre scenes. However it is as a miniaturist depicting the Viennese society of the early 1800s that he is best remembered.

Provenance: Private Collection, England

Signed/Inscribed: signed and dated 1835

","

Anton I, Prince Esterhazy (1738-1794) & Maria Theresia, Countess Erdödy (1745-1782)

Sold as a Pair

At the time of Anton’s birth his father Count Nikolaus Esterházy was a successful general and lieutenant field marshal in Austrian service who would later achieve distinction at the Battle of Kolin (1757) in the Seven Years War. When his brother died without heirs, Nikolaus acquired the family patrimony, becoming the fifth prince in the Esterházy line. As such, he inherited considerable wealth with which he built the magnificent palace of Esterháza in Hungary and patronized the arts, in particular supporting the endeavours of composer Joseph Haydn.

Anton served in his father’s regiment during the Seven Years War and at one point was taken prisoner by the enemy. He was then promoted to Captain (1763) and later to Field Marshal Lieutenant (1780), eventually becoming head of the regiment. He was also Colonel and Proprietor of the 31st Infantry Regiment (1777-1780); Colonel and Proprietor of the 34th Infantry Regiment (1780-1794); Captain of the Hungarian Noble Life Guard (1791-1794) and commanded an autonomous corps on the Upper Rhine at the beginning of the War of the First Coalition.

In these finely detailed portraits by the Viennese artist Karl Josef Agricola, Anton’s first wife Maria Theresia is seen tenderly cradling their first child Nikolaus, born in 1765 and later becoming the seventh Prince Esterházy. Anton is richly attired proudly displaying, anachronistically, his Order of the Golden Fleece. Agricola maybe was commissioned to paint the portraits by a relative or friend of the Esterházy family; the sitters are depicted c.1765 while the artist completed them in 1835. Therefore it is possible that they were finished for perhaps a family group of portraits that needed their inclusion to make sense schematically. Whatever the reason, the artist has risen to the occasion and produced colourful, highly finished works that demonstrate his abilities as a painter and miniaturist.

","0137",[414,415],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[412,413],{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":419,"_97":420,"_99":65,"_90":418,"_88":418},{"_95":416,"_97":417,"_99":65,"_90":418,"_88":418},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455755.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455755.jpg 386w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455755-244x316.jpg 244w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455755-337x437.jpg 337w",386,"https://cms.timothylangston.com/wp-content/uploads/2019/06/455754.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455754.jpg 386w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455754-244x316.jpg 244w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455754-337x437.jpg 337w",1767,"attributed-to-john-hoppner-1758-1810","Attributed to John Hoppner (1758-1810)","https://cms.timothylangston.com/shop/pictures/portraits/attributed-to-john-hoppner-1758-1810/","/shop/pictures/portraits/attributed-to-john-hoppner-1758-1810/","

Frances 'Fanny' Kemble (1759-1822)

This striking portrait dates from the 1780s, a decade in which Hoppner rose rapidly in public esteem, exhibiting regularly at the Royal Academy and becoming in 1789 Portrait Painter to the Prince of Wales. Sir Ellis Waterhouse pointed out that Hoppner 'is forever reminding us of the work of one or other of his great contemporaries, at first of Reynolds and Romney, and later of Lawrence and Raeburn'.

Hoppner is known to have been influenced to such an extent in his early works that he appears to have on occasion executed 'versions' of known works by Reynolds. This practice is not completely understood, with too few extant works to enable positive attributions to be confidently made but works have emerged that suggest this working method early in his career. Notably a version of Reynold's portrait of Lady Frances (Sotheby's, London, 13 July, 1984, lot 193A, as John Hoppner) which displays striking similarities in manner and execution to the portrait presented here. Both paintings exhibit the same unusually confident approach to finish, a distinct bravura and vivacity - particularly evident in the background - where the broad brushstrokes and the confident application of paint, in some cases merely quick indications of form, suggest an artist at ease with his subject and spontaneous method; for this portrait is not a mere copy of a known work but rather an interpretation of an existing one. The freshness of technique and the overall finish - heavily indebted to Romney's style - together with the compositional changes suggest the artist was not interested in copying Reynold's finished portrait of Fanny Kemble but rather repainting it.

There is much of George Romney's style in Hoppner's early painting and there is evidence of Romney at least being acquainted with Hoppner early in the latter's career, an inscription in Romney's receipt book for the years 1779-84 attesting to this. Exhibiting regularly at the Royal Academy from 1780 Hoppner would have been able to gain fairly easy access to Romney's studio to see his paintings as he would also to Reynolds.

This portrait was for generations believed to be by Sir Joshua Reynolds and was in one of the most significant English private collections, Mr & Mrs Arthur James, as being so - other pictures in their collection are now with the Tate Gallery and some were sold in 1948 after the death of Mrs. James. Catalogued in 1996 as Studio of Reynolds it compares favourably to Hoppner's work both early and later in his career, such as the portrait of Lady Hester King and Portrait of a Woman, previously Mrs. Fitzherbert (Metropolitan Museum of Art, New York).

Frances 'Fanny' Kemble hailed from a hugely talented theatrical family, her siblings including both the great Shakespearian actor John Philip Kemble and Sarah Siddons. She first appeared on stage in Bath and Bristol in 1780-81 and in London in January 1783, when probably sometime soon after Reynolds painted his portrait of her. She married in May 1786 Francis Twiss, and soon after left the stage to raise a family. Moving from London to Bath she established in 1807 a private school for girls, something she excelled at and proved successful both scholastically and financially. She died in October 1822, always to be remembered for her famous portrait and theatrical relatives.

Provenance: Mr & Mrs. Arthur James of Coton House, Rugby, England by whom sold, Christies 15th October, 1948, lot 126; bought by the art dealer Giuseppe Bellesi as by Sir Joshua Reynolds; Private Collection, U.S.A.; Newhouse Galleries, New York, 1992 as attributed to Sir Joshua Reyolds; Sotheby's, British Paintings, 13th November, 1996, lot 67 (withdrawn) as Studio of Sir Joshua Reynolds

","

Frances ‘Fanny’ Kemble (1759-1822)

This striking portrait dates from the 1780s, a decade in which Hoppner rose rapidly in public esteem, exhibiting regularly at the Royal Academy and becoming in 1789 Portrait Painter to the Prince of Wales. Sir Ellis Waterhouse pointed out that Hoppner ‘is forever reminding us of the work of one or other of his great contemporaries, at first of Reynolds and Romney, and later of Lawrence and Raeburn’.

Hoppner is known to have been influenced to such an extent in his early works that he appears to have on occasion executed ‘versions’ of known works by Reynolds. This practice is not completely understood, with too few extant works to enable positive attributions to be confidently made but works have emerged that suggest this working method early in his career. Notably a version of Reynold’s portrait of Lady Frances (Sotheby’s, London, 13 July, 1984, lot 193A, as John Hoppner) which displays striking similarities in manner and execution to the portrait presented here. Both paintings exhibit the same unusually confident approach to finish, a distinct bravura and vivacity – particularly evident in the background – where the broad brushstrokes and the confident application of paint, in some cases merely quick indications of form, suggest an artist at ease with his subject and spontaneous method; for this portrait is not a mere copy of a known work but rather an interpretation of an existing one. The freshness of technique and the overall finish – heavily indebted to Romney’s style – together with the compositional changes suggest the artist was not interested in copying Reynold’s finished portrait of Fanny Kemble but rather repainting it.

There is much of George Romney’s style in Hoppner’s early painting and there is evidence of Romney at least being acquainted with Hoppner early in the latter’s career, an inscription in Romney’s receipt book for the years 1779-84 attesting to this. Exhibiting regularly at the Royal Academy from 1780 Hoppner would have been able to gain fairly easy access to Romney’s studio to see his paintings as he would also to Reynolds.

This portrait was for generations believed to be by Sir Joshua Reynolds and was in one of the most significant English private collections, Mr & Mrs Arthur James, as being so – other pictures in their collection are now with the Tate Gallery and some were sold in 1948 after the death of Mrs. James. Catalogued in 1996 as Studio of Reynolds it compares favourably to Hoppner’s work both early and later in his career, such as the portrait of Lady Hester King and Portrait of a Woman, previously Mrs. Fitzherbert (Metropolitan Museum of Art, New York).

Frances ‘Fanny’ Kemble hailed from a hugely talented theatrical family, her siblings including both the great Shakespearian actor John Philip Kemble and Sarah Siddons. She first appeared on stage in Bath and Bristol in 1780-81 and in London in January 1783, when probably sometime soon after Reynolds painted his portrait of her. She married in May 1786 Francis Twiss, and soon after left the stage to raise a family. Moving from London to Bath she established in 1807 a private school for girls, something she excelled at and proved successful both scholastically and financially. She died in October 1822, always to be remembered for her famous portrait and theatrical relatives.

","0139",[436],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[434,435],"2019-06-13T15:51:08","2019-06-13T15:52:06",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":437,"_97":438,"_99":65,"_90":439,"_88":439},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455842.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455842.jpg 398w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455842-252x316.jpg 252w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455842-337x423.jpg 337w",398,1768,"sir-martin-archer-shee-1769-1850","Sir Martin Archer Shee (1769-1850)","https://cms.timothylangston.com/shop/pictures/portraits/sir-martin-archer-shee-1769-1850/","/shop/pictures/portraits/sir-martin-archer-shee-1769-1850/","

Jane Pomeroy (b.1787)

Sir Martin Archer Shee was born in Dublin in December 1769 and studied at the city's Royal Society Schools from 1781-83, where he was awarded medals for both landscape and portraiture. After leaving the Academy he practiced as a portrait painter principally in pastel, taking his sitters from Dublin society and establishing himself as a portraitist of renown by the tender age of sixteen. In 1788, on the advice of the American portrait painter Gilbert Stuart, who was in Ireland at the time, Shee travelled to London where, after some initial setbacks he met Joshua Reynolds and enrolled at the Royal Academy Schools. Concentrating on oils and initially producing historical works, he moved first into Sir Thomas Lawrence's old studio in Jermyn Street and later George Romney's in Cavendish Square, where he rapidly established himself as a much respected and highly successful society portrait painter undertaking commissions for the royal family. He became an ARA in November 1798 and an RA in February 1800. On the death of Lawrence in 1830, Shee was knighted and succeeded him as President of the Royal Academy. Aside from his considerable artistic skills, Shee was further known as a poet, novelist, critic and writer on art. He wrote ''Elements of Art'' in 1805, ''Commemoration of Reynolds and other poems'' in 1814 and two full length novels in 1829 and 1834. Byron was clearly sympathetic to his literary outings and mentions him in ''English Bards and Scotch Reviewers''.

The portrait presented here is a fascinating example of his earlier work. Executed in the mid 1790s it shows all the bravura confidence of youth combined with a precise understanding of the medium with which he was working. Compared with his later work which became rather too derivative, this portrait displays a liveliness of approach and an individuality of style that was quite distinct; the bright palette; the use of impasto; the broad, sometimes vigorous, brushstrokes; though indebted to fellow artist's styles, particularly Hoppner and Reynolds, it strikingly demonstrates a move forward to a more modern way of portrait painting. Shee can be seen to have adopted a similar approach in the state portrait of the Duke of Clarence (William IV) and the Self-Portrait, 1794 both in the National Portrait Gallery, London. As Shee's career progressed he seems to have been adversely influenced by his contemporaries, particularly Lawrence, resulting in his work being somewhat unfairly criticized and his presidency of the R.A. suggested as being more to do with politics than talent. It could arguably be said that his most exciting and innovative paintings were created when he was establishing himself during the first decade or so of moving to London.

The sitter, Jane Pomeroy, was the eldest child of Reverend John Pomeroy, 4th Viscount Harberton (1758-1833) and Esther Spencer (d.1840). Unfortunately little is recorded of her life possibly due to the fact that she died unmarried, presumably at a young age. It seems quite likely that this portrait was executed by the Irish Viscount on a visit to London, and no coincidence that the commission should be undertaken by a Dublin born artist of some renown. The Pomeroy family seem to have left Engesdon, near Harberton, Devon for Ireland in the late 17th century and when elevated to the Irish peerage in 1783 took the title derived from that English west country town.

Provenance: Probably John, 4th Viscount Harberton; Sir Hugo Cunliffe-Owen (1870-1947), Sunningdale Park, Berkshire; Private Collection

Signed/Inscribed: Inscription on reverse.

","

Jane Pomeroy (b.1787)

Sir Martin Archer Shee was born in Dublin in December 1769 and studied at the city’s Royal Society Schools from 1781-83, where he was awarded medals for both landscape and portraiture. After leaving the Academy he practiced as a portrait painter principally in pastel, taking his sitters from Dublin society and establishing himself as a portraitist of renown by the tender age of sixteen. In 1788, on the advice of the American portrait painter Gilbert Stuart, who was in Ireland at the time, Shee travelled to London where, after some initial setbacks he met Joshua Reynolds and enrolled at the Royal Academy Schools. Concentrating on oils and initially producing historical works, he moved first into Sir Thomas Lawrence’s old studio in Jermyn Street and later George Romney’s in Cavendish Square, where he rapidly established himself as a much respected and highly successful society portrait painter undertaking commissions for the royal family. He became an ARA in November 1798 and an RA in February 1800. On the death of Lawrence in 1830, Shee was knighted and succeeded him as President of the Royal Academy. Aside from his considerable artistic skills, Shee was further known as a poet, novelist, critic and writer on art. He wrote ”Elements of Art” in 1805, ”Commemoration of Reynolds and other poems” in 1814 and two full length novels in 1829 and 1834. Byron was clearly sympathetic to his literary outings and mentions him in ”English Bards and Scotch Reviewers”.

The portrait presented here is a fascinating example of his earlier work. Executed in the mid 1790s it shows all the bravura confidence of youth combined with a precise understanding of the medium with which he was working. Compared with his later work which became rather too derivative, this portrait displays a liveliness of approach and an individuality of style that was quite distinct; the bright palette; the use of impasto; the broad, sometimes vigorous, brushstrokes; though indebted to fellow artist’s styles, particularly Hoppner and Reynolds, it strikingly demonstrates a move forward to a more modern way of portrait painting. Shee can be seen to have adopted a similar approach in the state portrait of the Duke of Clarence (William IV) and the Self-Portrait, 1794 both in the National Portrait Gallery, London. As Shee’s career progressed he seems to have been adversely influenced by his contemporaries, particularly Lawrence, resulting in his work being somewhat unfairly criticized and his presidency of the R.A. suggested as being more to do with politics than talent. It could arguably be said that his most exciting and innovative paintings were created when he was establishing himself during the first decade or so of moving to London.

","0140",[457],{"_86":454,"_88":455,"_90":456,"_92":65,"_93":65},[452,453],"2021-10-14T16:12:16",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},"Circa 1790 England","30.00 inches","25.00 inches",{"_95":458,"_97":459,"_99":65,"_90":460,"_88":460},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642349.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642349.jpg 1301w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642349-267x316.jpg 267w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642349-1000x1184.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642349-337x399.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642349-1232x1458.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642349-865x1024.jpg 865w",1301,1777,"follower-of-pierre-gobert","Follower of Pierre Gobert","https://cms.timothylangston.com/shop/pictures/portraits/follower-of-pierre-gobert/","/shop/pictures/portraits/follower-of-pierre-gobert/","

Louise Francoise de Bourbon (1673-1743)

Louise Françoise de Bourbon was born illegitimately in June 1673 at Tournay, France, the daughter of Louis XIV and Françoise Athénaïs de Rochechouart, Madame de Montespan. In1685, eleven year old Louise was married to sixteen year old Louis de Bourbon, Duc de Bourbon, a distant cousin. She had several children, with one, the Duc de Maine, becoming a favorite of Louis XIV.

Swathed with richly decorated robes and garlands of flowers she is depicted in this portrait as a young woman of confidence and grace. She adopts the fashion of the day by wearing her hair high and with cruches, that is, 'certain smaller Curles, placed on the Forehead' (John Evelyn, The Fop-Dictionary, 1690). Indeed, the whole head was structured around the wire 'commode' which held the hair high enough to later incorporate layers of silks and other fabric adornments. In this instance Louise's hair is decorated with floral arrangements at the sides and silk tassles crowning the top at the front.

Pierre Gobert (1662-1744) was born in Fontainebleau, the son of the sculptor Jean Gobert and during the reign of Louis XIV became the preferred painter of the great ladies of the court, as evidenced by the large collection of portraits that he executed during that time. His works inspired other artists to create portraits in a style echoing his own - the present portrait being a good example of this - there being a tremendous demand for images of royalty.

Provenance: Private Collection, England

","

Louise Francoise de Bourbon (1673-1743)

Swathed with richly decorated robes and garlands of flowers she is depicted in this portrait as a young woman of confidence and grace. She adopts the fashion of the day by wearing her hair high and with cruches, that is, ‘certain smaller Curles, placed on the Forehead’ (John Evelyn, The Fop-Dictionary, 1690). Indeed, the whole head was structured around the wire ‘commode’ which held the hair high enough to later incorporate layers of silks and other fabric adornments. In this instance Louise’s hair is decorated with floral arrangements at the sides and silk tassles crowning the top at the front.

Pierre Gobert (1662-1744) was born in Fontainebleau, the son of the sculptor Jean Gobert and during the reign of Louis XIV became the preferred painter of the great ladies of the court, as evidenced by the large collection of portraits that he executed during that time. His works inspired other artists to create portraits in a style echoing his own – the present portrait being a good example of this – there being a tremendous demand for images of royalty.

","0141",[476,477],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[474,475],"2019-06-13T15:51:28","2019-06-13T15:52:10",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":481,"_97":482,"_99":65,"_90":483,"_88":483},{"_95":478,"_97":479,"_99":65,"_90":480,"_88":480},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642354.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642354.jpg 1388w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642354-265x316.jpg 265w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642354-1000x1192.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642354-337x402.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642354-1232x1469.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642354-859x1024.jpg 859w",1388,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642353.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642353.jpg 1005w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642353-245x316.jpg 245w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642353-1000x1290.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642353-337x435.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642353-794x1024.jpg 794w",1005,1778,"francis-wheatley-1747-1801","Francis Wheatley (1747-1801)","https://cms.timothylangston.com/shop/pictures/portraits/francis-wheatley-1747-1801/","/shop/pictures/portraits/francis-wheatley-1747-1801/","

George Coleman the younger (1762-1836)

George Colman the younger was a playwright, writer of scurrilous satiric verse, and theatre manager whose comic operas, farces, melodramas, and sentimental comedies were box-office successes in the late 18th and early 19th centuries.

An intelligent young man he passed from Westminster School to Christ Church, Oxford, and King's College, University of Aberdeen, and was finally entered as a student of law at Lincoln's Inn, London. While in Aberdeen he published a poem satirizing Charles James Fox, called The Man of the People; and in 1782 he produced, at his famous father's playhouse in the Haymarket, his first play, The Female Dramatist, which was unanimously condemned, but his next Two to One (1784) was praised and a success. It was followed by Turk and no Turk (1785), a musical comedy; Inkle and Yarico (1787), an opera; Ways and Means (1788); The Iron Chest (1796), The Poor Gentleman (1802); John Bull, or an Englishman's Fireside (1803), his most successful piece; The Heir at Law (1808), and numerous other pieces, many of them adapted from the French.

He took over The Haymarket theatre on the death of his father in 1794 but his life was plagued with financial insecurity and difficulties resulting in a long spell in debtor's prison. Here he resided for many years continuing to direct the affairs of his theatre and was finally released through the intervention of King George IV, who appointed him in 1824 Examiner of Plays, more commonly called Licenser, a post made vacant by the death of John Larpent. In effect this gave him complete authority to censor any plays or parts of plays that he deemed immoral, overly political blasphemous, or otherwise dangerous. It was position some of his contemporary playwrights considered he abused by being a hypocritically severe censor. However actors recalled his generosity and humanity, friends remembered his readiness to help them, proprietors his straightforward business manner and the public his entertaining productions.

Given the style of clothes and general manner of painting, this portrait was probably finished sometime around Colman's success of his work Inkle and Yarico which opened in August 1787. The artist Francis Wheatley was a well known painter of stage personalities and this intimate portrait displays much character and liveliness of form. The art historian Sir Ellis Waterhouse noted 'He was a neat portraitist, with clear and attractive colour' and John T. Hayes has described 'the crisp handling of paint, the minute attention to detail in the costume, the lovely delicate tonality' as typical characteristics of Wheatley's work, all of which can be appreciated within this image of the youthful theatrical impresario. An engraving, quite similar to this portrait, is with the Heinz archive, National Portrait Gallery, London

Born and trained in London at William Shipley's academy, Francis Wheatley began winning drawing prizes from the Society of Artists at an early age and in 1763 travelled abroad to Holland, Belgium, and France. He enrolled at the new Royal Academy schools in 1769 and by 1770 was elected a Fellow of the Society of Artists, becoming its Director in 1774. Wheatley's early work consisted mainly of interior decorative projects and of small-scale, full-length portraits and conversation pieces, which stood him in good stead but the youthful artist consistently suffered financial difficulties due to a gambling problem and a love of the extravagant lifestyle of London high society. In 1779, with the help of a loan from the painter Benjamin West (1738-1820), and to escape creditors, he eloped to Dublin with the wife of J. A. Gresse (1740-1794), another artist. For four years Wheatley worked predominantly as a portrait painter, his work recalling the manner of Johan Zoffany (1733-1810) and Benjamin Wilson (1721-1788), under whom Wheatley may well have studied. He also completed a number of large-scale paintings depicting contemporary events his most famous being `The Irish House of Commons'. On his return to London in 1783, still probably hounded by debt, he began working for the print publisher John Boydell producing engravings after his paintings of many scenes that, to the modern eye, appear fairly sentimental and moralizing, but at the time were widely appreciated and have secured his lasting reputation. He also continued to paint genre pictures, portraits, landscapes, and some history paintings. Wheatley was elected to the Royal Academy in 1791 but his last years were plagued by gout and continuing debt.

Provenance: A descendant of the poet Elizabeth Barrett Browning (1806-1861)

","

George Coleman the younger (1762-1836)

An intelligent young man he passed from Westminster School to Christ Church, Oxford, and King’s College, University of Aberdeen, and was finally entered as a student of law at Lincoln’s Inn, London. While in Aberdeen he published a poem satirizing Charles James Fox, called The Man of the People; and in 1782 he produced, at his famous father’s playhouse in the Haymarket, his first play, The Female Dramatist, which was unanimously condemned, but his next Two to One (1784) was praised and a success. It was followed by Turk and no Turk (1785), a musical comedy; Inkle and Yarico (1787), an opera; Ways and Means (1788); The Iron Chest (1796), The Poor Gentleman (1802); John Bull, or an Englishman’s Fireside (1803), his most successful piece; The Heir at Law (1808), and numerous other pieces, many of them adapted from the French.

He took over The Haymarket theatre on the death of his father in 1794 but his life was plagued with financial insecurity and difficulties resulting in a long spell in debtor’s prison. Here he resided for many years continuing to direct the affairs of his theatre and was finally released through the intervention of King George IV, who appointed him in 1824 Examiner of Plays, more commonly called Licenser, a post made vacant by the death of John Larpent. In effect this gave him complete authority to censor any plays or parts of plays that he deemed immoral, overly political blasphemous, or otherwise dangerous. It was position some of his contemporary playwrights considered he abused by being a hypocritically severe censor. However actors recalled his generosity and humanity, friends remembered his readiness to help them, proprietors his straightforward business manner and the public his entertaining productions.

Given the style of clothes and general manner of painting, this portrait was probably finished sometime around Colman’s success of his work Inkle and Yarico which opened in August 1787. The artist Francis Wheatley was a well known painter of stage personalities and this intimate portrait displays much character and liveliness of form. The art historian Sir Ellis Waterhouse noted ‘He was a neat portraitist, with clear and attractive colour’ and John T. Hayes has described ‘the crisp handling of paint, the minute attention to detail in the costume, the lovely delicate tonality’ as typical characteristics of Wheatley’s work, all of which can be appreciated within this image of the youthful theatrical impresario. An engraving, quite similar to this portrait, is with the Heinz archive, National Portrait Gallery, London

Born and trained in London at William Shipley’s academy, Francis Wheatley began winning drawing prizes from the Society of Artists at an early age and in 1763 travelled abroad to Holland, Belgium, and France. He enrolled at the new Royal Academy schools in 1769 and by 1770 was elected a Fellow of the Society of Artists, becoming its Director in 1774. Wheatley’s early work consisted mainly of interior decorative projects and of small-scale, full-length portraits and conversation pieces, which stood him in good stead but the youthful artist consistently suffered financial difficulties due to a gambling problem and a love of the extravagant lifestyle of London high society. In 1779, with the help of a loan from the painter Benjamin West (1738-1820), and to escape creditors, he eloped to Dublin with the wife of J. A. Gresse (1740-1794), another artist. For four years Wheatley worked predominantly as a portrait painter, his work recalling the manner of Johan Zoffany (1733-1810) and Benjamin Wilson (1721-1788), under whom Wheatley may well have studied. He also completed a number of large-scale paintings depicting contemporary events his most famous being `The Irish House of Commons’. On his return to London in 1783, still probably hounded by debt, he began working for the print publisher John Boydell producing engravings after his paintings of many scenes that, to the modern eye, appear fairly sentimental and moralizing, but at the time were widely appreciated and have secured his lasting reputation. He also continued to paint genre pictures, portraits, landscapes, and some history paintings. Wheatley was elected to the Royal Academy in 1791 but his last years were plagued by gout and continuing debt.

","0142",[498,499],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[496,497],"2019-06-13T15:52:13",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":503,"_97":504,"_99":65,"_90":505,"_88":505},{"_95":500,"_97":501,"_99":65,"_90":502,"_88":502},"https://cms.timothylangston.com/wp-content/uploads/2019/06/641941.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641941.jpg 1119w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641941-281x316.jpg 281w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641941-1000x1125.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641941-337x379.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641941-910x1024.jpg 910w",1119,"https://cms.timothylangston.com/wp-content/uploads/2019/06/641940.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/641940.jpg 1122w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641940-260x316.jpg 260w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641940-1000x1217.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641940-337x410.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/641940-842x1024.jpg 842w",1122,1779,"john-raphael-smith-1751-1812","John Raphael Smith (1751-1812)","https://cms.timothylangston.com/shop/pictures/portraits/john-raphael-smith-1751-1812/","/shop/pictures/portraits/john-raphael-smith-1751-1812/","

Henry Wellesley, 1st Baron Cowley (1773-1847)

This portrait of Henry Wellesley by the talented pastellist John Raphael Smith was drawn about 1805, before the nobleman's elevation to the peerage, and until now has remained untraced in a collection in Jersey. It noticeably resembles the likeness in the youthful portrait by John Hoppner, which is in the collection of the Dukes of Wellington.

Henry Wellesley was the fifth and youngest son of Garret Wellesley, 1st Earl of Mornington and Anne Hill-Trevor, eldest daughter of Arthur Hill-Trevor, 1st Viscount Dungannon. He was the younger brother of Arthur, 1st Duke of Wellington. Educated at Eton he joined the army in 1790 and began his diplomatic career the following year when he was appointed attaché to the British embassy at The Hague, later becoming Secretary of Legation in Stockholm in 1792. In 1794, while travelling home from Lisbon with his sister Anne, he was captured by the French, and remained in prison during the height of the Revolutionary terror, escaping only in 1795. Two years later he went back to France, accompanying Lord Malmesbury as secretary, in an unsuccessful attempt to negotiate peace. Soon after he travelled to India, where he became private secretary to his oldest brother, Lord Mornington, the new governor-general. He was in India between 1797 and 1799, and again from 1801 to 1802, and was a useful assistant to his brother in a variety of diplomatic capacities, negotiating treaties with Mysore and Oudh.

In the 1807 general election he was elected a Member of Parliament both for Athlone in Ireland and for Eye in England. He chose to sit for Eye, and held the seat until his resignation in 1809 when he was made the British envoy to Spain. His eldest brother, by now Marquess Wellesley, was Foreign Secretary, whilst his brother Arthur, now Viscount Wellington, was British commander-in-chief in Spain and together, the three brothers helped to make the Peninsular campaign a success. He remained ambassador to Spain until 1821. Two years later he was appointed ambassador to Austria, where he remained until 1831 and then ambassador in Paris during Robert Peel's administrations of 1835 and 1841-1846.

He married firstly Lady Charlotte Cadogan in 1803, by whom he had three sons and a daughter before she left him for Lord Paget, a talented cavalry officer. They divorced in 1810. He married secondly in 1816 Lady Georgiana Cecil, daughter of the Marquess of Salisbury and was created Baron Cowley in 1828.

John Raphael Smith was born in Derby, the son of the itinerant landscape painter Thomas Smith of Derby (fl.1745-1767). Apprenticed to a linen-draper he subsequently pursued the same business in London, adding to his income by producing miniatures and chalk-drawings, largely portraits of middle-class sitters. In 1769 he turned to engraving and executed his first plate eventually becoming the most celebrated producer of prints of the period. Upon the decline of his business as a print-seller he gave up engraving in 1802 to concentrate on his work as a portrait painter in chalk and crayon; his giving up engraving may well be connected with the strain on his eyes occasioned by the fineness of detail required in the work. Whatever the precise reason he went on to quickly develop a lucrative practice in pastel portraiture as a result with as many as forty sitters a week at two guineas a head. His patrons included some of the leading politicians of the day, such as the Whigs Charles James Fox and Lord Holland.

Provenance: John Appleby Collection (1928-2009)

Signed/Inscribed: Inscribed

","

Henry Wellesley, 1st Baron Cowley (1773-1847)

This portrait of Henry Wellesley by the talented pastellist John Raphael Smith was drawn about 1805, before the nobleman’s elevation to the peerage, and until now has remained untraced in a collection in Jersey. It noticeably resembles the likeness in the youthful portrait by John Hoppner, which is in the collection of the Dukes of Wellington.

","0143",[520],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[518,519],"2019-06-13T15:52:14",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":521,"_97":522,"_99":65,"_90":523,"_88":523},"https://cms.timothylangston.com/wp-content/uploads/2019/06/455985.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/455985.jpg 432w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455985-273x316.jpg 273w, https://cms.timothylangston.com/wp-content/uploads/2019/06/455985-337x390.jpg 337w",432,1781,"portrait-of-antonio-niccolini-1701-1769-by-thomas-gibson-1680-1751","Portrait of Antonio Niccolini (1701-1769) by Thomas Gibson (1680-1751)","https://cms.timothylangston.com/shop/pictures/portraits/portrait-of-antonio-niccolini-1701-1769-by-thomas-gibson-1680-1751/","/shop/pictures/portraits/portrait-of-antonio-niccolini-1701-1769-by-thomas-gibson-1680-1751/","

Framed Dimensions: 69 inches x 49 inches (175.5 x 124.5 cm)

Antonio Niccolini (1701-1769)

The sitter in this portrait, having remained unknown for many generations, has recently been identified as the Italian nobleman Antonio Niccolini (1701-1769). An immensely powerful family, descended from the Sirigatti landowners of Tuscany, they were valuable power brokers for the Medicis and highly influential at court throughout the generations. The youngest child of Filippo, third Marquess of Ponsacco and Camugliano, Niccolini was a man of broad cultural interests, who combined a passion for literature, philosophy and the physical sciences with a growing curiosity towards countries at the forefront of intellectual debate in these fields, particularly England. Count Cosmas Migliorucci, (d.1726), was a member of the Order of St. Stephen along with Niccolini and a naturalised Englishman. An important merchant of Florence, who married into the English Catholic family of Nevill, he assisted Niccolini in excursions to London, when this portrait would have been painted. That these urbane Italian noblemen were undoubtedly friends would explain why the portrait came to be in the collection at Nevill Holt Hall, Leicestershire, where it was to remain for almost two hundred years.

The artist Thomas Gibson (1680-1751) worked in London as a portrait painter and attracted prestigious sitters such as the archbishops William Wake and John Potter as well as Sir Robert Walpole. His patrons included John, 1st Earl Poulett, and Augusta, Princess of Wales. Gibson's practice earned him the appointment in 1711 as a founding director of Godfrey Kneller's St Martin's Lane Academy, the forerunner of the Royal Academy schools. Engraver and antiquary George Vertue (1683-1756) speaks of Gibson as a man 'universally belovd for his affability & good nature' and praises him for his 'correct & firm manner of drawing', which is all too evident in this depiction of Niccolini.

Painted in 1725, this portrait is one of Gibson's most striking works and a magnificent study of style and fashion from the period. From the sumptuous blue velvet court coat with heavily embroidered stiffened cuffs and fabulously decorated waistcoat, to the elegant buckled shoes and silver trimmed hat, grandeur and luxury is clearly evident, but in a distinctly English understated manner. The opulent surroundings and accoutrement that might accompany continental portraits of the same period do not figure here; rather Gibson has contrasted the figure of Niccolini with a classical architectural background of cool stone work. Here we can detect a change of mind in the artist to his composition as the pentimento of a fountain exists to the right and to the family armorial on the plinth to the left. A flavour of Italy is indicated in the view beyond the elegant nobleman, as military trophies adorn the high balustrade, with a backdrop of swaying Cyprus trees set against a blue Tuscan sky. Much admired the antique military trophies of Octavianus Augustus on the Campidoglio in Rome were probably the ultimate source of these and no doubt allude to Niccolini's ancestor Arrigo who earned the family name 'Sirigatti' after his courage in the Battle of Beneveto in 1266. They could also allude to the earlier martial character of the Order of St. Stephen, the red-ribboned cross of which Niccolini nobly wears.

The Order of St Stephen was a Tuscan military order founded, with Papal approval, by Cosimo I de' Medici, first Grand Duke of Tuscany, in 1561 with the intention of safeguarding the Duchy's maritime commerce from the depredations of pirates and of protecting western Mediterranean Christendom from the Ottoman Empire. To this end they protected Christian - and especially Italian - shipping from their base on the island of Elba throughout two centuries. By the early eighteenth century their martial character had considerably lessened and young noblemen joined to learn the knightly-monastic virtues of a chivalric order that had close associations with the Medici ruling house of Tuscany and a prestigious membership.

Provenance: Count Cosmas Migliorucci, 1725 and then by descent in the Nevill family, Nevill Holt Hall, Leicestershire, England; purchased by Henry Butteriss, Hallerton, England c.1915 and subsequently sold Christies 2nd August 1928, lot 94, bought by Blakeland; Alan Carr Collection, San Francisco, U.S.A., 1967; Philip Mould - Historical Portraits, London, 2003; Private Collection, England

Literature: The Georgian Group Journal, Vol XXI, p.199-202

","

Framed Dimensions: 69 inches x 49 inches (175.5 x 124.5 cm)

Antonio Niccolini (1701-1769)

The artist Thomas Gibson (1680-1751) worked in London as a portrait painter and attracted prestigious sitters such as the archbishops William Wake and John Potter as well as Sir Robert Walpole. His patrons included John, 1st Earl Poulett, and Augusta, Princess of Wales. Gibson’s practice earned him the appointment in 1711 as a founding director of Godfrey Kneller’s St Martin’s Lane Academy, the forerunner of the Royal Academy schools. Engraver and antiquary George Vertue (1683-1756) speaks of Gibson as a man ‘universally belovd for his affability & good nature’ and praises him for his ‘correct & firm manner of drawing’, which is all too evident in this depiction of Niccolini.

Painted in 1725, this portrait is one of Gibson’s most striking works and a magnificent study of style and fashion from the period. From the sumptuous blue velvet court coat with heavily embroidered stiffened cuffs and fabulously decorated waistcoat, to the elegant buckled shoes and silver trimmed hat, grandeur and luxury is clearly evident, but in a distinctly English understated manner. The opulent surroundings and accoutrement that might accompany continental portraits of the same period do not figure here; rather Gibson has contrasted the figure of Niccolini with a classical architectural background of cool stone work. Here we can detect a change of mind in the artist to his composition as the pentimento of a fountain exists to the right and to the family armorial on the plinth to the left. A flavour of Italy is indicated in the view beyond the elegant nobleman, as military trophies adorn the high balustrade, with a backdrop of swaying Cyprus trees set against a blue Tuscan sky. Much admired the antique military trophies of Octavianus Augustus on the Campidoglio in Rome were probably the ultimate source of these and no doubt allude to Niccolini’s ancestor Arrigo who earned the family name ‘Sirigatti’ after his courage in the Battle of Beneveto in 1266. They could also allude to the earlier martial character of the Order of St. Stephen, the red-ribboned cross of which Niccolini nobly wears.

The Order of St Stephen was a Tuscan military order founded, with Papal approval, by Cosimo I de’ Medici, first Grand Duke of Tuscany, in 1561 with the intention of safeguarding the Duchy’s maritime commerce from the depredations of pirates and of protecting western Mediterranean Christendom from the Ottoman Empire. To this end they protected Christian – and especially Italian – shipping from their base on the island of Elba throughout two centuries. By the early eighteenth century their martial character had considerably lessened and young noblemen joined to learn the knightly-monastic virtues of a chivalric order that had close associations with the Medici ruling house of Tuscany and a prestigious membership.

","0145",[538],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[536,537],"2026-06-10T13:42:58",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":539,"_97":540,"_99":65,"_90":541,"_88":541},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642092.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642092.jpg 617w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642092-220x316.jpg 220w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642092-337x484.jpg 337w",617,1782,"london-views-old-london-bridge-looking-towards-monument-and-blackfriars-looking-towards-st-pauls","London Views - Old London Bridge Looking Towards Monument and Blackfriars Looking Towards St. Pauls","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/london-views-old-london-bridge-looking-towards-monument-and-blackfriars-looking-towards-st-pauls/","/shop/pictures/landscapes-and-seascapes/london-views-old-london-bridge-looking-towards-monument-and-blackfriars-looking-towards-st-pauls/","

ATTRIBUTED TO J (R) PAUL SNR

Working from 1820

Much mystery and intrigue surrounds the life and career of this painter and his studio.
\nIt seems fairly certain that he started life in Norwich where his father Robert was a painter of landscapes.
\nIt is never quite clear as to whether he is the artist Joseph Paul or not.
\nMost stories about his life seem to concur that he got into trouble with the authorities after a pub brawl in Norwich and he fled to London.

He seems to have used his brush to earn living painting replicas of Canaletto and Samuel Scott’s views of London, which have always been in high demand.
\nBy 1840, it is said that Paul had set up as a dealer with an Art shop in Cheapside.
\nThere are various anecdotes about famous artists passing his shop window and seeing their work replicated.
\nPossibly apocryphal, but it is said that Turner passed the shop and saw three of his subjects all melted into one canvas!

It is said that he had a son who worked with him and continued the “the family firm” of producing these famous and popular views after his father’s death.
\nWhat is certain, is that his (and his sons work) are very easy to spot and accurately attribute due to the very particular way they are painted.

It is said he had five wives and despite an appetite for drink, lived into his 80’s.

(Framed sizes)

Literature: Bibl: British Landscape Painters M.H. Grant Vol 5
\nEast Anglian Painters - Harold Day

","

ATTRIBUTED TO J (R) PAUL SNR

Working from 1820

It is said he had five wives and despite an appetite for drink, lived into his 80’s.

(Framed sizes)

","0146",[559,560,561,562],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[554,555],"2019-06-13T15:52:18",{"_49":556,"_53":557,"_51":558},{"_49":199,"_53":200,"_51":201},35,"Landscapes and Seascapes","landscapes-and-seascapes",{"_95":570,"_97":571,"_99":65,"_90":565,"_88":565},{"_95":568,"_97":569,"_99":65,"_90":565,"_88":565},{"_95":566,"_97":567,"_99":65,"_90":565,"_88":565},{"_95":563,"_97":564,"_99":65,"_90":565,"_88":565},"https://cms.timothylangston.com/wp-content/uploads/2019/06/456543.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456543.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456543-316x242.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456543-337x258.jpg 337w",600,"https://cms.timothylangston.com/wp-content/uploads/2019/06/456544.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456544.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456544-316x223.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456544-337x238.jpg 337w","https://cms.timothylangston.com/wp-content/uploads/2019/06/456541.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456541.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456541-316x219.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456541-337x234.jpg 337w","https://cms.timothylangston.com/wp-content/uploads/2019/06/456542.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456542.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456542-316x241.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456542-337x257.jpg 337w",1783,"portrait-of-man-wearing-an-armour-breast-plate-1669-1710","Portrait of a Man Wearing an Armour Breast Plate and Red Jacket Believed to be Daniel Parke (1669-1710)","https://cms.timothylangston.com/shop/pictures/portraits/portrait-of-man-wearing-an-armour-breast-plate-1669-1710/","/shop/pictures/portraits/portrait-of-man-wearing-an-armour-breast-plate-1669-1710/","

JONATHAN RICHARDSON SENIOR (1664-1745)

Jonathan Richardson Senior was born in London. His father died when he was a child and he was apprenticed to a scrivener. The retirement of his master enabled him to be released before the completion of the apprenticeship and he decided to take up painting.
\nHe went on to study under John Riley from 1688 until Riley’s death 1691. He became Riley’s heir and married his niece.
\nMost of his known works date from after 1700, and his style was halfway between Riley and Kneller. He went on to establish an extremely successful practice and owned an important collection of old master drawings (many of which were bought after his death by Hudson, then Reynolds and finally by Lawrence). He published The Theory of Painting, 1715 which influenced E. Burke’s theories on the sublime; and, with his son, an account of the works a tourist should see in Italy, 1722 – both works were immensely influential, inspiring Reynolds with the desire to become a painter, and providing him with a clear vision of the foundation of an English School.
\nRichardson helped found the 1711 Academy.
\nAmong his pupils were Jonathan Richardson Jnr, George Knapton, Thomas Hudson (who married one of his daughters), Giles Hussey and John Michael Williams.
\nIn 1720 Richardson charged 20 guineas for a head portrait, 40 guineas for a half-length and 70 guineas for a full-length portrait.
\nHe retired from painting in 1740.

Richardson died in London on 25 May 1745 and is buried in the churchyard of St George the Martyr, Bloomsbury.

Waterhouse writes, “His works are sound, solid, good likenesses, and unpretentious”.

Works Represented: National Portrait Gallery London; Scottish National Portrait Gallery; City Estates Committee, Bristol; Manchester City Art Gallery; Society of Antiquaries; The British Museum; College of Arms London; Warwick Castle.

Daniel Parke was a Virginia politician who gained his first public office at age nineteen, when he was elected to the House of Burgesses for James City County (1688). By age twenty-six, he had acquired a seat on the governor's Council (1695–1697). He relocated to England in 1697. He served as an aide-de-camp to John Churchill, Duke of Marlborough, during the War of the Spanish Succession (1701–1714), and carried news of Marlborough's victory at the Battle of Blenheim to Queen Anne in 1704. The queen rewarded Parke with a governorship in the Leeward Islands, a small island chain in the Caribbean, which he assumed in 1706. But Parke's accomplishments masked a darker side. Arrogant and at times violent, he became estranged from his wife and children in Virginia, had a number of extramarital relationships, and fathered offspring out of wedlock. Ultimately, Parke's sexual improprieties contributed to his political undoing. Residents of the Leeward Islands complained that he had 'debauched' many of their wives and daughters, in addition to exceeding his authority as their governor; a bloody riot ended Parke's governorship, and his life, on December 7, 1710, when an angry mob pulled him from his home and murdered him.

(Framed size)

Literature: Bibl: Dictionary of Portrait Painters – Brian Stewart & Mervyn Cutten

","

JONATHAN RICHARDSON SENIOR (1664-1745)

Richardson died in London on 25 May 1745 and is buried in the churchyard of St George the Martyr, Bloomsbury.

Waterhouse writes, “His works are sound, solid, good likenesses, and unpretentious”.

Daniel Parke was a Virginia politician who gained his first public office at age nineteen, when he was elected to the House of Burgesses for James City County (1688). By age twenty-six, he had acquired a seat on the governor’s Council (1695–1697). He relocated to England in 1697. He served as an aide-de-camp to John Churchill, Duke of Marlborough, during the War of the Spanish Succession (1701–1714), and carried news of Marlborough’s victory at the Battle of Blenheim to Queen Anne in 1704. The queen rewarded Parke with a governorship in the Leeward Islands, a small island chain in the Caribbean, which he assumed in 1706. But Parke’s accomplishments masked a darker side. Arrogant and at times violent, he became estranged from his wife and children in Virginia, had a number of extramarital relationships, and fathered offspring out of wedlock. Ultimately, Parke’s sexual improprieties contributed to his political undoing. Residents of the Leeward Islands complained that he had ‘debauched’ many of their wives and daughters, in addition to exceeding his authority as their governor; a bloody riot ended Parke’s governorship, and his life, on December 7, 1710, when an angry mob pulled him from his home and murdered him.

(Framed size)

","0147",[586],{"_86":65,"_88":65,"_90":65,"_92":65,"_93":65},[584,585],"2022-02-18T16:24:40",{"_49":199,"_53":200,"_51":201},{"_49":196,"_53":197,"_51":198},{"_95":587,"_97":588,"_99":65,"_90":589,"_88":589},"https://cms.timothylangston.com/wp-content/uploads/2019/06/456571.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456571.jpg 490w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456571-258x316.jpg 258w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456571-337x413.jpg 337w",490,1784,"the-pembroke-coast-near-st-davids","The Pembroke Coast Near St. Davids","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/the-pembroke-coast-near-st-davids/","/shop/pictures/landscapes-and-seascapes/the-pembroke-coast-near-st-davids/","

EDMUND JOHN NIEMANN SNR (1813-1876)

Edmund John Niemann was born in Islington, London and had a German father, John Diedrich Niemann who worked at Lloyd’s in the City of London. As a young man Edmund was employed as a clerk at Lloyd’s from 1826-1839.
\nAfter 1840 he devoted himself to painting and settled at High Wycombe, Buckinghamshire where he worked incessantly out of doors.
\nHe became a painter of landscapes, angling subjects and marines. He especially enjoyed painting the scenery of the Thames, and the River Swale near Richmond in Yorkshire and Wales, and other parts of the British Isles.
\nHe exhibited his work from 1844 to 1872, 29 works at the Royal Academy, 45 at the British Institute, 30 at Suffolk Street; and also at the Royal Scottish Academy, the Royal Institute, the Glasgow Institute and the Paris Salon.
\nIn 1848 Neimann returned to London for the foundation of the ‘Free Exhibition’ held in the Chinese Gallery at Hyde Park Corner. Later in 1850 this became the Portland Gallery, Regent Street, and Niemann became its secretary.
\nHis paintings were often very large and illustrate every phase of nature, with great versatility and natural colours. He was very prolific and highly successful. John Ruskin considered Niemann to be, ‘the heir to Constable as the master of English landscape painting’.

He died at Brixton Hill, Surrey on 15 April 1876.

Niemann’s son Edward H. Niemann (flourished 1863 -1867) was also a successful painter and closely followed his father’s style.

Works in Museums & Galleries: Blackburn; Bristol; Glasgow; Victoria & Albert; Liverpool; Manchester; Nottingham; Sheffield; Wolverhampton Art Gallery.

(Framed Size)

Literature: Bibl: Dictionary of Victorian Painters - Christopher Wood
\nBenezit; Bryans; VAM Catalogue 1820 -1860

","

EDMUND JOHN NIEMANN SNR (1813-1876)

He died at Brixton Hill, Surrey on 15 April 1876.

Niemann’s son Edward H. Niemann (flourished 1863 -1867) was also a successful painter and closely followed his father’s style.

Works in Museums & Galleries: Blackburn; Bristol; Glasgow; Victoria & Albert; Liverpool; Manchester; Nottingham; Sheffield; Wolverhampton Art Gallery.

(Framed Size)

","0148",[604],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[602,603],"2019-06-13T15:52:19",{"_49":199,"_53":200,"_51":201},{"_49":556,"_53":557,"_51":558},{"_95":605,"_97":606,"_99":65,"_90":565,"_88":565},"https://cms.timothylangston.com/wp-content/uploads/2019/06/456590.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456590.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456590-316x226.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456590-337x242.jpg 337w",1793,"westminster-bridge-from-lambeth","Westminster Bridge from Lambeth","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/westminster-bridge-from-lambeth/","/shop/pictures/landscapes-and-seascapes/westminster-bridge-from-lambeth/","

DANIEL TURNER (1782-1801)

The area shown in this painting would appear to be Lambeth foreshore boatyards which since the building of the embankment on the Thames is now the site of
\nSt. Thomas' Hospital.

Daniel Turner was an English painter of landscapes, architectural views, portraits and historical paintings.
\nHe is best known for his most charming views of London, the Thames and the surrounding countryside. These were of the smallest and neatest, faithful to every brick in a wall yet so prettily coloured as to render them objects of art as well of topographical interest.
\nHis architectural views and in particular the way he paints his bridges help identify him as an artist.
\nViews of Peterborough and Rouen Cathedrals and some antiquities in Scotland are the only scenes done by him outside London, and these only in etchings, at which Turner was adept.
\nHis topographical London views provide one of the best groups of how the City looked in the 18th Century, which was a time of much building and change.
\nTurner exhibited his work from 1782 to 1801, 7 at the Free Society of Artists and 10 at the Royal Academy, these mostly being views of London’s bridges and the surrounding streets.
\nIt is recorded that he lived at 24 Millbank Street, London and Millbank Row, Horseferry, London.
\nDaniel Turner is sometimes called David but this is an error.

Works Represented: Victoria & Albert Museum; Guildhall.

(Framed size)

Provenance: Mrs Cecil Christie, Stibbington Manor, Cambridg

Literature: British Landscape Painters – M.H. Grant
\nBenezit

","

DANIEL TURNER (1782-1801)

The area shown in this painting would appear to be Lambeth foreshore boatyards which since the building of the embankment on the Thames is now the site of
\nSt. Thomas’ Hospital.

Works Represented: Victoria & Albert Museum; Guildhall.

(Framed size)

","0149",[622],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[620,621],"2019-06-13T15:51:48","2019-06-13T15:52:21",{"_49":199,"_53":200,"_51":201},{"_49":556,"_53":557,"_51":558},{"_95":623,"_97":624,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/490426.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490426.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490426-316x229.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490426-1000x724.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490426-337x244.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490426-1232x891.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490426-1024x741.jpg 1024w",1794,"a-view-of-eton-from-fellows-eyot","A View of Eton from Fellows' Eyot","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/a-view-of-eton-from-fellows-eyot/","/shop/pictures/landscapes-and-seascapes/a-view-of-eton-from-fellows-eyot/","

JAMES STARK (1794-1859)

James Stark was a landscape painter and watercolourist, born in Norwich on 19 November 1794, son of Michael a Scottish dyer. James was the youngest of 3 sons and was a pupil at the Norwich Grammar School. In 1811 Stark studied under John Crome Snr for 3 years then moved to London and entered the Royal Academy Schools in 1817. He became a friend of the painter William Collins who in turn knew both Linnell & Constable, and fell under the influence of these two great masters. Stark began exhibiting in 1811 but his first major success seems to have come in 1815 when the Dean of Windsor bought his painting, The Bathing Place - Morning at the British Institution. In 1818 his Penning the Flock was bought from the same gallery by the Marquis of Stafford and he sold 2 other works to aristocratic patrons. He subsequently sold pictures to the academicians Chantrey, Phillips, and Sir George Beaumont. In 1819 ill health forced him to return to Norwich where he remained unable to paint until 1830, he then took an active part exhibiting his work at the Norwich Society of Artists of which he had become a member in 1812. In 1818 he was he was awarded a prize of £50 by the British Institution. One of Stark's early pictures, Lambeth, looking towards Westminster Bridge was bought by the Countess de Grey from the B.I in 1818 and is now in the Paul Mellon Collection. It shows that to begin with Stark worked in a fairly broad naturalistic style comparable with that of his fellow pupils. None of Stark's exhibited works are explicitly described as out door oil sketches, but a number by him are known, and he was also a prolific sketcher in chalk and watercolours. His work shows the preoccupation with detail which, is featured in much of his work. However he is best known for his numerous glade scenes in imitation of Hobbema. He married Elizabeth Dinmore in 1821 and went to live in Yarmouth for a few years, before returning to Norwich in 1827. He then began work on a series of pictures, recording the local scenery; these were the basis for a book of 35 engravings, The Rivers of Norfolk. In 1839 the Norwich Mercury reported his landscapes were, “brilliant with beauty and light”, the exchange from Hobbema to nature is indeed a marvellous improvement. Stark had developed a style better suited to the London exhibitions and began to show a large number of works. His landscapes were much brighter. In 1830 he returned to London. In 1840 Stark moved to Windsor and was active for the following 10 years painting many views of the beautiful surrounding area. Though short, this was probably his most productive period with Stark at the height of his powers.
\nJames Stark died on 24 March 1859.
\nStark had a number of pupils, including Samuel Colkett, Alfred Priest and his son Arthur James Stark (1831 -1902).

Works represented: National Gallery of Scotland; Glasgow; Tate London; Victoria & Albert Museum; Manchester; Montreal; Norwich; Nottingham and many others.

(Framed size)

Literature: Bibl: Norwich School of Painters - A. Hemingway; Old English & British Landscape Painters - M.H Grant; Benezit

","

JAMES STARK (1794-1859)

James Stark was a landscape painter and watercolourist, born in Norwich on 19 November 1794, son of Michael a Scottish dyer. James was the youngest of 3 sons and was a pupil at the Norwich Grammar School. In 1811 Stark studied under John Crome Snr for 3 years then moved to London and entered the Royal Academy Schools in 1817. He became a friend of the painter William Collins who in turn knew both Linnell & Constable, and fell under the influence of these two great masters. Stark began exhibiting in 1811 but his first major success seems to have come in 1815 when the Dean of Windsor bought his painting, The Bathing Place – Morning at the British Institution. In 1818 his Penning the Flock was bought from the same gallery by the Marquis of Stafford and he sold 2 other works to aristocratic patrons. He subsequently sold pictures to the academicians Chantrey, Phillips, and Sir George Beaumont. In 1819 ill health forced him to return to Norwich where he remained unable to paint until 1830, he then took an active part exhibiting his work at the Norwich Society of Artists of which he had become a member in 1812. In 1818 he was he was awarded a prize of £50 by the British Institution. One of Stark’s early pictures, Lambeth, looking towards Westminster Bridge was bought by the Countess de Grey from the B.I in 1818 and is now in the Paul Mellon Collection. It shows that to begin with Stark worked in a fairly broad naturalistic style comparable with that of his fellow pupils. None of Stark’s exhibited works are explicitly described as out door oil sketches, but a number by him are known, and he was also a prolific sketcher in chalk and watercolours. His work shows the preoccupation with detail which, is featured in much of his work. However he is best known for his numerous glade scenes in imitation of Hobbema. He married Elizabeth Dinmore in 1821 and went to live in Yarmouth for a few years, before returning to Norwich in 1827. He then began work on a series of pictures, recording the local scenery; these were the basis for a book of 35 engravings, The Rivers of Norfolk. In 1839 the Norwich Mercury reported his landscapes were, “brilliant with beauty and light”, the exchange from Hobbema to nature is indeed a marvellous improvement. Stark had developed a style better suited to the London exhibitions and began to show a large number of works. His landscapes were much brighter. In 1830 he returned to London. In 1840 Stark moved to Windsor and was active for the following 10 years painting many views of the beautiful surrounding area. Though short, this was probably his most productive period with Stark at the height of his powers.
\nJames Stark died on 24 March 1859.
\nStark had a number of pupils, including Samuel Colkett, Alfred Priest and his son Arthur James Stark (1831 -1902).

Works represented: National Gallery of Scotland; Glasgow; Tate London; Victoria & Albert Museum; Manchester; Montreal; Norwich; Nottingham and many others.

(Framed size)

","0150",[639,640],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[637,638],"2019-06-13T15:52:23",{"_49":199,"_53":200,"_51":201},{"_49":556,"_53":557,"_51":558},{"_95":643,"_97":644,"_99":65,"_90":100,"_88":100},{"_95":641,"_97":642,"_99":65,"_90":565,"_88":565},"https://cms.timothylangston.com/wp-content/uploads/2019/06/456719.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/456719.jpg 600w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456719-316x238.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/456719-337x253.jpg 337w","https://cms.timothylangston.com/wp-content/uploads/2019/06/490686.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490686.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490686-316x250.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490686-1000x791.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490686-337x267.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490686-1232x975.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490686-1024x810.jpg 1024w",1795,"stone-house-beneath-the-mountains","Stone House Beneath The Mountains","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/stone-house-beneath-the-mountains/","/shop/pictures/landscapes-and-seascapes/stone-house-beneath-the-mountains/","

OLIVIA SERRES Also known as OLIVIA WILMOT (1772-1834)

Born in Warwick this remarkable lady was famous for more than just painting. In 1792 she married John T. Serres, the marine painter and son of the great Dominic Serres. After their marriage she proclaimed to the world she was the daughter of the Duke of Cumberland (Brother of George III). This was a matter that she took to law, calling herself Princess Olivia of Cumberland. Despite this being dismissed as the ravings of a lunatic, it does seem that the Royal Family took pity on her and it is said she was even bestowed the title of ‘Landscape painter to the Prince of Wales’.
\nShe was a very talented painter, often showing a close similarity to the landscapes of Wilson and Gainsborough.
\nShe exhibited at the Royal Academy & the British Institute.
\nShe wrote volumes of poetry and novels.
\nSadly she became informous for wild living and extravagance, which led to her husband’s bankruptcy and to her incarceration in a debtor’s prison until her death in 1834.
\nShe was a very colourful character of the Regency period.

(Framed size)

Signed/Inscribed: 1772- 1834 Inscribed

","

OLIVIA SERRES Also known as OLIVIA WILMOT (1772-1834)

(Framed size)

","0151",[659],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[657,658],"2019-06-13T15:52:26",{"_49":556,"_53":557,"_51":558},{"_49":199,"_53":200,"_51":201},{"_95":660,"_97":661,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/490685.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490685.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490685-316x264.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490685-1000x836.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490685-337x282.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490685-1232x1029.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490685-1024x856.jpg 1024w",1796,"still-life-of-grapes-peaches","Still Life of Grapes & Peaches","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/still-life-of-grapes-peaches/","/shop/pictures/landscapes-and-seascapes/still-life-of-grapes-peaches/","

LEON CHARLES HUBER

Leon Charles Huber was born on 11 January 1858 in Paris. He went on to become a painter of still life, animals and cats.
\nHe was a student at the Ecole des Beaux-Arts in Dawant and of Jules Grun.
\nAs his career progressed he became known for his superbly observed paintings of cats. Whilst these remain popular it is his still life paintings that are regarded as his more natural work.
\nIn 1903 he received a mention.

Huber died on 25 August 1928 in Paris.

(Framed size)

Signed/Inscribed: 1858-1928 Signed

","

LEON CHARLES HUBER

Huber died on 25 August 1928 in Paris.

(Framed size)

","0152",[676,677],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[674,675],"2019-06-13T15:52:30",{"_49":199,"_53":200,"_51":201},{"_49":556,"_53":557,"_51":558},{"_95":681,"_97":682,"_99":65,"_90":100,"_88":100},{"_95":678,"_97":679,"_99":65,"_90":680,"_88":680},"https://cms.timothylangston.com/wp-content/uploads/2019/06/490678.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490678.jpg 2228w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490678-316x263.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490678-1000x833.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490678-337x281.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490678-1232x1026.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490678-1024x853.jpg 1024w",2228,"https://cms.timothylangston.com/wp-content/uploads/2019/06/490679.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/490679.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490679-316x277.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490679-1000x878.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490679-337x296.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490679-1232x1081.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/490679-1024x899.jpg 1024w",1797,"a-decalcomania-vase","A Decalcomania Vase","https://cms.timothylangston.com/shop/objects/ceramics/a-decalcomania-vase/","/shop/objects/ceramics/a-decalcomania-vase/","

A Decalcomania Vase

","0154",[697],{"_86":65,"_88":65,"_90":65,"_92":65,"_93":65},[694,695,696],"2020-02-14T17:59:50",{"_49":121,"_53":122,"_51":123},{"_49":118,"_53":119,"_51":120},{"_49":115,"_53":116,"_51":117},{"_95":698,"_97":699,"_99":65,"_90":100,"_88":100},"https://cms.timothylangston.com/wp-content/uploads/2019/06/496676.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/496676.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/496676-100x100.jpg 100w",1798,"a-tole-fire-bucket","A Tole Fire Bucket","https://cms.timothylangston.com/shop/objects/metal-ware/a-tole-fire-bucket/","/shop/objects/metal-ware/a-tole-fire-bucket/","

A tole fire bucket with Chinoiserie decoration.

","0212",[716],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[711,712],"2019-06-13T15:52:36",{"_49":118,"_53":119,"_51":120},{"_49":713,"_53":714,"_51":715},36,"Metalware","metal-ware",{"_95":717,"_97":718,"_99":65,"_90":719,"_88":719},"https://cms.timothylangston.com/wp-content/uploads/2019/06/494132.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/494132.jpg 2427w, https://cms.timothylangston.com/wp-content/uploads/2019/06/494132-307x316.jpg 307w, https://cms.timothylangston.com/wp-content/uploads/2019/06/494132-1000x1030.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/494132-337x347.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/494132-1232x1269.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/494132-994x1024.jpg 994w",2427,1799,"a-snuff-bottle","A Snuff Bottle","https://cms.timothylangston.com/shop/objects/a-snuff-bottle/","/shop/objects/a-snuff-bottle/","

A nineteenth century agate snuff bottle with cover.

The Chinese considered smoking tobacco distasteful and therefore snuff, made by mixed tobacco with herbs and spices, was believed to have medicinal properties (it was considered a cure for migraines). Inhaled through the nose, it often caused one to sneeze and this was believed to be a way of purging illnesses and impurities.

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the 'Forbidden Kingdom,' in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China's humid climate, traditional Chinese medicine bottles made better snuff containers. Therefore, the Emperor Kangxi had beautiful snuff bottles made especially for himself and his family. Soon, these intricately handcrafted and ornate snuff bottles had become a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

Usually standing about three inches tall or less, antique snuff bottles were made from a variety of materials including jade, agate, porcelain, glass, and precious stones like tourmaline, ruby matrix, and amethyst. The carved, moulded, or painted designs on snuff bottles included plant and animal totems intended to convey blessings. The bottle lids also incorporated spoons, originally made from ivory but later from bone, metal and tortoiseshell.

The most treasured Chinese snuff bottles come from the Courts of Yongzheng and Qianlong. Their artisans had learned the process of enamelling and painting on metal or glass from the Jesuits. For this reason, many of the resulting bottles were painted with European-style Catholic iconography.

","

A nineteenth century agate snuff bottle with cover.

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the ‘Forbidden Kingdom,’ in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China’s humid climate, traditional Chinese medicine bottles made better snuff containers. Therefore, the Emperor Kangxi had beautiful snuff bottles made especially for himself and his family. Soon, these intricately handcrafted and ornate snuff bottles had become a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

","0159",[734],{"_86":733,"_88":65,"_90":65,"_92":65,"_93":-7},[732],"2022-04-06T19:52:15",{"_49":118,"_53":119,"_51":120},"Circa 1850 China",{"_95":735,"_97":736,"_99":65,"_90":737,"_88":737},"https://cms.timothylangston.com/wp-content/uploads/2019/06/485078.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/485078.jpg 1127w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485078-100x100.jpg 100w",1127,1800,"a-snuff-bottle-2","https://cms.timothylangston.com/shop/objects/ceramics/a-snuff-bottle-2/","/shop/objects/ceramics/a-snuff-bottle-2/","

A Glass Snuff Bottle

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the 'Forbidden Kingdom,' in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China's humid climate, traditional Chinese medicine bottles made better snuff containers. Thus, the Emperor Kangxi had beautiful snuff bottles crafted for himself and his family. Soon, these delicately handcrafted and ornate snuff bottles were a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

","

A Glass Snuff Bottle

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the ‘Forbidden Kingdom,’ in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China’s humid climate, traditional Chinese medicine bottles made better snuff containers. Thus, the Emperor Kangxi had beautiful snuff bottles crafted for himself and his family. Soon, these delicately handcrafted and ornate snuff bottles were a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

","0160",[752],{"_86":751,"_88":65,"_90":65,"_92":65,"_93":-7},[749,750],"2022-04-06T19:52:53",{"_49":121,"_53":122,"_51":123},{"_49":118,"_53":119,"_51":120},"Circa 1880 China",{"_95":753,"_97":754,"_99":65,"_90":755,"_88":755},"https://cms.timothylangston.com/wp-content/uploads/2019/06/472871.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/472871.jpg 1215w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472871-100x100.jpg 100w",1215,1821,"a-snuff-bottle-3","https://cms.timothylangston.com/shop/objects/ceramics/a-snuff-bottle-3/","/shop/objects/ceramics/a-snuff-bottle-3/","

A carved porcelain snuff bottle

The Chinese considered smoking tobacco distasteful and therefore snuff, made by mixed tobacco with herbs and spices, was believed to have medicinal properties (it was considered a cure for migraines). Inhaled through the nose, it often caused one to sneeze, which was believed to be a way of purging illnesses and impurities.

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the 'Forbidden Kingdom,' in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China's humid climate, traditional Chinese medicine bottles made better snuff containers. Thus, the Emperor Kangxi had beautiful snuff bottles crafted for himself and his family. Soon, these delicately handcrafted and ornate snuff bottles were a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

Usually standing three inches tall or less, antique snuff bottles were made from a various materials including jade, agate, porcelain, glass, and precious stones like tourmaline, ruby matrix, and amethyst. The carved, moulded, or painted designs on snuff bottles included plant and animal totems intended to convey blessings. The bottles also came with spoons, originally made out of ivory but later from bone, metal and tortoiseshell.

The most treasured Chinese snuff bottles come from the courts of Yongzheng and Qianlong. Their artisans had learned the process of enamelling and painting on metal or glass from the Jesuits. For this reason, many of the resulting bottles were painted with European-style Catholic iconography.

","

A carved porcelain snuff bottle

The Chinese considered smoking tobacco distasteful and therefore snuff, made by mixed tobacco with herbs and spices, was believed to have medicinal properties (it was considered a cure for migraines). Inhaled through the nose, it often caused one to sneeze, which was believed to be a way of purging illnesses and impurities.

The Chinese Court did not have access to large quantities of snuff until Jesuit missionaries, who were hoping to gain access to the ‘Forbidden Kingdom,’ in 1684, presented Kangxi, the second emperor of the Qing Dynasty, with an elaborate snuff box. The emperor was very pleased by this precious gift and he realised that, owing to China’s humid climate, traditional Chinese medicine bottles made better snuff containers. Thus, the Emperor Kangxi had beautiful snuff bottles crafted for himself and his family. Soon, these delicately handcrafted and ornate snuff bottles were a wildly popular symbol of status in the Imperial court, especially as tobacco, imported from the New World, was prohibitively expensive for most commoners. For the upper classes in Chinese society, a snuff bottle was an essential accessory. Whilst in conversation with his peers, a Chinese man or rank would pull out his bottle and offer snuff to share so that the others could admire its beauty. For this reason, the bottles were also used in bribes.

","0161",[769],{"_86":751,"_88":65,"_90":65,"_92":65,"_93":-7},[767,768],"2022-04-06T19:50:38",{"_49":121,"_53":122,"_51":123},{"_49":118,"_53":119,"_51":120},{"_95":770,"_97":771,"_99":65,"_90":772,"_88":772},"https://cms.timothylangston.com/wp-content/uploads/2019/06/485085.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/485085.jpg 1285w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/485085-100x100.jpg 100w",1285,1822,"a-snuff-bottle-4","https://cms.timothylangston.com/shop/objects/ceramics/a-snuff-bottle-4/","/shop/objects/ceramics/a-snuff-bottle-4/","

A Glass Snuff Bottle and lid

","0162",[785],{"_86":-7,"_88":-7,"_90":-7,"_92":-7,"_93":-7},[783,784],"2019-06-13T15:52:41",{"_49":118,"_53":119,"_51":120},{"_49":121,"_53":122,"_51":123},{"_95":786,"_97":787,"_99":65,"_90":788,"_88":788},"https://cms.timothylangston.com/wp-content/uploads/2019/06/472891.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/472891.jpg 1179w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/472891-100x100.jpg 100w",1179]