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Portrait of a Gentleman c. 1770

Judy Edgerton, curator of the Tate Gallery exhibition 'Wright of Derby', 1990 attributed this portrait to Wright on the basis of photographs. Alex Kidson, curator of the Walker Art Gallery exhibition 'Joseph Wright of Derby in Liverpool', 2007, on the basis of images, was of the opinion it was by an artist working closely to Wright.

Joseph Wright (1734-1797) was born in Derby and worked there for most of his life. In 1751, he went to London to study with the leading portrait-painter Thomas Hudson (1701-1779), and from 1768 until 1771 he worked in Liverpool where he had a successful portrait practice with the prosperous middle classes. From Derby, he sent works to exhibition at the Society of Artists in London, but the themes of his landscape and subject paintings and the sitters of his portraits were largely taken from Derby and the surrounding area.

In 1773, Wright took his new wife to Italy, where he studied the Renaissance masters and the antique, but he was particularly fascinated by the landscape and especially Mount Vesuvius, which was to be an inspiration in his later fire-paintings. He returned to Derby in September 1775, and shortly after went to Bath for just over a year.

On his return to Derby in June 1777, he spent more time on landscape painting, but still kept up the portrait business, taking up where he had left off at his departure to Italy. The following year he began to exhibit at the Royal Academy. The label 'Wright of Derby' was first bestowed on him by the Gazetteer's exhibition reviewer of 1768. At a time when it was improper to use artists' Christian names, it became necessary to differentiate between two 'Mr Wrights' who were exhibiting simultaneously, Joseph and Richard Wright of Liverpool.

The stance in this portrait was one that Wright appears to have found agreeable for a number of his portrait compositions. A delicate feigned oval just encroaches and the sitter almost seems to rest his elbow on the edge with a slight turn of the head and body to prevent it from being a mere profile; this simplicity of approach to the composition is enlivened by masterful strokes of the brush to highlight flashes of light on the edges of the coat buttons, the scarf and most importantly the eyes. Throughout his career, Wright had an absorbing interest with chiaroscuro and the effects of light sources. While his earliest works reflect the poses and glowing tones of his master Thomas Hudson, he soon developed a preoccupation with the atmospheric effects of light which are a hallmark of his work. In the present painting, the sitter's coat is subtly lit from an unseen source, high up and to the left. A more diffused light softens the features, while the shaded half of the gentleman's face is almost silhouetted against a source of reflected cool light from behind.

Provenance: Private Collection, England

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Portrait of a Gentleman c. 1770

Judy Edgerton, curator of the Tate Gallery exhibition ‘Wright of Derby’, 1990 attributed this portrait to Wright on the basis of photographs. Alex Kidson, curator of the Walker Art Gallery exhibition ‘Joseph Wright of Derby in Liverpool’, 2007, on the basis of images, was of the opinion it was by an artist working closely to Wright.

On his return to Derby in June 1777, he spent more time on landscape painting, but still kept up the portrait business, taking up where he had left off at his departure to Italy. The following year he began to exhibit at the Royal Academy. The label ‘Wright of Derby’ was first bestowed on him by the Gazetteer’s exhibition reviewer of 1768. At a time when it was improper to use artists’ Christian names, it became necessary to differentiate between two ‘Mr Wrights’ who were exhibiting simultaneously, Joseph and Richard Wright of Liverpool.

The stance in this portrait was one that Wright appears to have found agreeable for a number of his portrait compositions. A delicate feigned oval just encroaches and the sitter almost seems to rest his elbow on the edge with a slight turn of the head and body to prevent it from being a mere profile; this simplicity of approach to the composition is enlivened by masterful strokes of the brush to highlight flashes of light on the edges of the coat buttons, the scarf and most importantly the eyes. Throughout his career, Wright had an absorbing interest with chiaroscuro and the effects of light sources. While his earliest works reflect the poses and glowing tones of his master Thomas Hudson, he soon developed a preoccupation with the atmospheric effects of light which are a hallmark of his work. In the present painting, the sitter’s coat is subtly lit from an unseen source, high up and to the left. A more diffused light softens the features, while the shaded half of the gentleman’s face is almost silhouetted against a source of reflected cool light from behind.

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Jan van der Vaart (1647-1727)

Portrait of Dorothy, Lady Brownlow (1664-1700)

Oil on canvas; held in a period carved wood frame, circa 1687

Considered a beauty of the age, Dorothy, Lady Brownlow was painted on a number of occasions by some of the most talented and respected artists of the day; Kneller, Riley, Closterman, Dahl and Wissing, all rendered her features in oil for posterity. The portrait presented here is by Jan van der Vaart who from 1685-1687 was employed by Willem Wissing as a drapery and landscape painter. After Wissing’s death in 1687 he practiced as an independent portraitist much in the style of his master with some influence also of Kneller. This work is in fact the head and shoulders taken from Wissing’s three-quarter length of Lady Brownlow which hangs at Belton House, Lincolnshire and produced as a mezzotint in 1687. Van der Vaart has made some intriguing alterations particularly as the sitter now looks directly at us, appearing rather more provocative and self assured of her beauty. The confident rendering of the dress and pearls and the thickly drawn copious hair are hallmarks of Van der Vaart’s work. It is likely he completed this portrait - shortly after Wissing’s version - as a smaller variant intended for another family member as was often the practice.

Dorothy Mason married Sir William Brownlow 4^th Bt. in July 1688; she was the daughter and heir of Sir Richard Mason a politician and courtier to Charles II who owned estates at Bishop’s Castle, Salop and Sutton Surrey. She came from, and married into extreme wealth; her dowry upon marriage was £10,000 and on her death her husband inherited the estates that were once her father’s.

In June 1697 William Brownlow succeeded his brother to the baronetcy and to most of his landed estates including Belton House. In 1698 he abandoned his Peterborough seat to contest Bishop’s Castle on behalf of his wife and in the interest of his mother-in-law, Lady Anna Mason. As the opposing candidate at Bishop’s Castle was Charles Gerard, 2nd Earl of Macclesfield the contest was doubtless embittered by the friendly relations between the Brownlows and Macclesfield’s recently divorced wife, Anne - Lady Brownlow’s sister. With the help of a section of the Mason family and some Tory support, Sir William was successful. In the ugly dispute over the election which followed, Lady Brownlow worked tirelessly to gain the support of the Secretary of State James Vernon, who readily gave it, writing to the Duke of Shrewsbury, ‘Sir William Brownlow has behaved himself so harmlessly, and is so right in voting that I do not think the House will or ought to part with him’.

Lady Brownlow had five children with Sir William: Anne Brownlow (1685-1779) who married Sir Richard Cust (1680-1734), 2nd Bt Pinchbeck; Richard Brownlow (1689-1690); John Brownlow, 1st and last Viscount Tyrconnel (1690-1754); Dorothy Brownlow (b.1695) and William Brownlow (1699-1726).

","

Jan van der Vaart (1647-1727)

Portrait of Dorothy, Lady Brownlow (1664-1700)

Oil on canvas; held in a period carved wood frame, circa 1687

Considered a beauty of the age, Dorothy, Lady Brownlow was painted on a number of occasions by some of the most talented and respected artists of the day; Kneller, Riley, Closterman, Dahl and Wissing, all rendered her features in oil for posterity. The portrait presented here is by Jan van der Vaart who from 1685-1687 was employed by Willem Wissing as a drapery and landscape painter. After Wissing’s death in 1687 he practiced as an independent portraitist much in the style of his master with some influence also of Kneller. This work is in fact the head and shoulders taken from Wissing’s three-quarter length of Lady Brownlow which hangs at Belton House, Lincolnshire and produced as a mezzotint in 1687. Van der Vaart has made some intriguing alterations particularly as the sitter now looks directly at us, appearing rather more provocative and self assured of her beauty. The confident rendering of the dress and pearls and the thickly drawn copious hair are hallmarks of Van der Vaart’s work. It is likely he completed this portrait – shortly after Wissing’s version – as a smaller variant intended for another family member as was often the practice.

In June 1697 William Brownlow succeeded his brother to the baronetcy and to most of his landed estates including Belton House. In 1698 he abandoned his Peterborough seat to contest Bishop’s Castle on behalf of his wife and in the interest of his mother-in-law, Lady Anna Mason. As the opposing candidate at Bishop’s Castle was Charles Gerard, 2nd Earl of Macclesfield the contest was doubtless embittered by the friendly relations between the Brownlows and Macclesfield’s recently divorced wife, Anne – Lady Brownlow’s sister. With the help of a section of the Mason family and some Tory support, Sir William was successful. In the ugly dispute over the election which followed, Lady Brownlow worked tirelessly to gain the support of the Secretary of State James Vernon, who readily gave it, writing to the Duke of Shrewsbury, ‘Sir William Brownlow has behaved himself so harmlessly, and is so right in voting that I do not think the House will or ought to part with him’.

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Jan Van Rossum (fl.1654-1678)

Portrait of Willem van Haren (1626-1708 ), Dutch Ambassador to England

Oil on canvas; signed and dated 1661; held in an ebonsied period frame

Provenance: Christies Old Master Pictures, 21^st July 1989, lot 131

Willem van Haren is chiefly known as an energetic diplomat and ambassador with strong involvement in local politics and academia. Born in Leeuwarden in the Netherlands he went on to become Sheriff/Mayor of Het Bildt a municipality of Freisland, a position he held for nearly fifty years before succeeded by his cousin. During this time he oversaw the expansion and power of his family from urban patriciate, through administrative offices and services at the Nassau-Dietz court to a truly dynastic presence in the region.

In 1658 he married Elizabeth van Hemmema and became a member of the Reformed Church at Sint Annaparochie, renting a house directly opposite the church itself. Eventually purchasing the property he turned it into an aristocratic estate with ornamental gardens. Later he oversaw the rebuilding and enlargement of the old church opposite, where the great Dutch artist Rembrandt was married in 1634, and which was to bear his name, Van Harenskerk. He was behind a number of important diplomatic missions, and acted as ambassador of the Netherlands in Denmark, Sweden and England.

Jan van Rossum was a talented but relatively obscure Netherlandish painter. Born in Vianen in the central Netherlands he was principally a painter of portraits in the vein of Michiel Jansz van Mierevelt or Daniel Mytens. The paintings by him that have emerged on to the market show a consistency in quality and composition which appears to have attracted wealthy businessmen and the aspirational classes of the Low Countries.

Painted in 1661 Van Haren is depicted as a confident young man, finely attired, and well groomed. An elegant, almost suave image that demonstrates well the abilities of the artist and which obviously suited the image Van Haren wished to project to the world. A portrait of him in later life was painted by Bernard Valliant and engraved by Abraham Booteling.

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Dimensions refer to size of frame.

Mezzotint engraved by John Young, January 1820, from a drawing by George Antoine Kernan.

Richard Colley Wesley, later Wellesley, 1st Marquess Wellesley (20 June 1760 - 26 September 1842), was the eldest son of Garret Wesley, 1st Earl of Mornington. He was brother to Arthur Wellesley, 1st Duke of Wellington, and a British politician and colonial administrator who expanded the British Empire in India and sought reconciliation between Protestants and Catholics in Ireland.

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Dimensions refer to size of frame.

Mezzotint engraved by John Young, January 1820, from a drawing by George Antoine Kernan.

Richard Colley Wesley, later Wellesley, 1st Marquess Wellesley (20 June 1760 – 26 September 1842), was the eldest son of Garret Wesley, 1st Earl of Mornington. He was brother to Arthur Wellesley, 1st Duke of Wellington, and a British politician and colonial administrator who expanded the British Empire in India and sought reconciliation between Protestants and Catholics in Ireland.

","2068","595",[176],{"_70":172,"_72":173,"_74":174,"_76":175,"_78":77},[166,167,168],"2020-11-12T11:20:36",{"_33":65,"_37":66,"_35":14},{"_33":67,"_37":68,"_35":69},{"_33":169,"_37":170,"_35":171},43,"Prints","prints","Circa 1820 England","22 1/2 inches (57 cm)","16 1/2 inches (42 cm)","1 1/4 inches (3 cm)",{"_80":177,"_82":178,"_84":155,"_74":145,"_72":145},"https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-scaled.jpg","https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-scaled.jpg 2560w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2020/11/Image-12-11-2020-at-10.09-100x100.jpg 100w",16937,"john-raphael-smith-1751-1812-pastel-portrait-of-a-gentleman-in-his-library","John Raphael Smith (1751-1812) Pastel Portrait of a Gentleman in His Library","https://cms.timothylangston.com/shop/pictures/portraits/john-raphael-smith-1751-1812-pastel-portrait-of-a-gentleman-in-his-library/","/shop/pictures/portraits/john-raphael-smith-1751-1812-pastel-portrait-of-a-gentleman-in-his-library/","

John Raphael Smith (1751-1812)

Portrait of a Gentleman in his Library.

Patel on paper; held in period frame; inscribed on original backing.

Provenance: Professor Philip Rieff (1922-2006); Thomas Agnews, Bond St. (stock no. Bols 8580), October 1980; Private Collection, Shropshire

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.

This engaging and colourful portrait of a young gentleman seated in his library was completed by John Raphael Smith in a trip to Leeds in 1807, these details being inscribed in ink on the original backing board. The distinct colours and confident flourishes of chalk are all hallmark Smith. Embarking on a tour through the north and midland counties of England, he produced many images of the rising commercial classes newly enriched by the industrial revolution in towns such as Newark, York, Leeds, Sheffield and Doncaster. This gentleman is a typical patron of the type encountered during his journey, and is a fine example of his confident portrait style in the pastel medium.

","2353","3500",[197],{"_70":194,"_72":195,"_74":196,"_76":105,"_78":77},[192,193],"2021-08-12T16:36:35","2021-08-12T16:36:36",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Circa 1807 England","22 inches (55.75 cm)","18 1/4 inches (46.5 cm)",{"_80":198,"_82":199,"_84":200,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160.jpg","https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2021/08/3842-160-100x100.jpg 100w","John Raphael Smith Pastel Portrait",19315,"english-school-portrait-of-william-simpson","English School - Portrait of William Simpson","https://cms.timothylangston.com/shop/pictures/portraits/english-school-portrait-of-william-simpson/","/shop/pictures/portraits/english-school-portrait-of-william-simpson/","

English School, circa 1780

A portrait of William Simpson

Oil on panel; inscribed verso

Held in a period giltwood frame

Dimensions refer to outer framed size

","2569","1950",[219,220],{"_70":216,"_72":217,"_74":218,"_76":137,"_78":77},[214,215],"2022-04-04T18:28:57","2022-04-04T18:43:46",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Circa 1780 England","16 inches (40.5 cm)","13 1/2 inches (34 cm)",{"_80":224,"_82":225,"_84":223,"_74":118,"_72":118},{"_80":221,"_82":222,"_84":223,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-116-100x100.jpg 100w","English School c.1780 Portrait of William Simpson","https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115.jpg","https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2022/04/3875-115-100x100.jpg 100w",24563,"attributed-to-george-romney-1734-1802-portrait-of-thomas-lawrence-1711-1783","Attributed to George Romney (1734-1802) Portrait of Thomas Lawrence (1711-1783)","https://cms.timothylangston.com/shop/pictures/portraits/attributed-to-george-romney-1734-1802-portrait-of-thomas-lawrence-1711-1783/","/shop/pictures/portraits/attributed-to-george-romney-1734-1802-portrait-of-thomas-lawrence-1711-1783/","

Attributed to George Romney (1734-1802)

Portrait of Thomas Lawrence (1711-1783)

President of Royal College of Physians, London

Oil on canvas; period frame

Provenance: Leggatt Brothers, 1897 sold to Frederick Williams and by descent

Dimensions refer to outer size of frame

Thomas Lawrence, physician, was the eldest son of naval officer Captain Thomas Lawrence and his wife, Elizabeth (d. 1724), daughter of Gabriel Soulden, merchant, of Kinsale, Ireland, and widow of a Colonel Piers. He was the grandson of Thomas Lawrence (d. 1714), first physician to Queen Anne, and physician-general to the army, who in turn was nephew of Henry Lawrence (1600–1664), Cromwell's lord president of the council of state. Born in London he went up to Trinity College, Oxford in October 1727 and afterwards having chosen medicine as his profession, moved to London, where he attended the anatomical lectures of Dr. Frank Nicholls and the practice of St Thomas's Hospital. He graduated M.B. at Oxford, 1736, M.D. 1740, and succeeded Nicholls as anatomical reader in the university, but resided in London, where he also delivered anatomical lectures. Admitted a candidate of the London College of Physicians in 1743, Lawrence was a fellow in 1744. After filling a number of college offices he was elected president in 1767, and was annually re-elected for seven consecutive years.

In May 1744 Lawrence married Frances, daughter of Charles Chauncy, physician, of Derby. They had six sons, one of whom was the eminent judge Sir Soulden Lawrence, and three daughters.

Lawrence was a friend of Samuel Johnson, who was one of his patients. Johnson, who corresponded with him in London about his own ailments, said that Lawrence was 'one of the best men whom he had known'. He visited him late in his life when Lawrence’s health was deteriorating, also writing an ode to one of his sons.

About 1773 Lawrence's health began to fail. In 1782 he had an attack of paralysis, and in the same year moved from London to Canterbury, where he died on 6 June 1783. There is a memorial to him in Canterbury Cathedral.

His brother William and his family were individually painted by Romney in 1785, 1786 and 1788.

","

Attributed to George Romney (1734-1802)

Portrait of Thomas Lawrence (1711-1783)

President of Royal College of Physians, London

Oil on canvas; period frame

Provenance: Leggatt Brothers, 1897 sold to Frederick Williams and by descent

Dimensions refer to outer size of frame

Thomas Lawrence, physician, was the eldest son of naval officer Captain Thomas Lawrence and his wife, Elizabeth (d. 1724), daughter of Gabriel Soulden, merchant, of Kinsale, Ireland, and widow of a Colonel Piers. He was the grandson of Thomas Lawrence (d. 1714), first physician to Queen Anne, and physician-general to the army, who in turn was nephew of Henry Lawrence (1600–1664), Cromwell’s lord president of the council of state. Born in London he went up to Trinity College, Oxford in October 1727 and afterwards having chosen medicine as his profession, moved to London, where he attended the anatomical lectures of Dr. Frank Nicholls and the practice of St Thomas’s Hospital. He graduated M.B. at Oxford, 1736, M.D. 1740, and succeeded Nicholls as anatomical reader in the university, but resided in London, where he also delivered anatomical lectures. Admitted a candidate of the London College of Physicians in 1743, Lawrence was a fellow in 1744. After filling a number of college offices he was elected president in 1767, and was annually re-elected for seven consecutive years.

In May 1744 Lawrence married Frances, daughter of Charles Chauncy, physician, of Derby. They had six sons, one of whom was the eminent judge Sir Soulden Lawrence, and three daughters.

Lawrence was a friend of Samuel Johnson, who was one of his patients. Johnson, who corresponded with him in London about his own ailments, said that Lawrence was ‘one of the best men whom he had known’. He visited him late in his life when Lawrence’s health was deteriorating, also writing an ode to one of his sons.

About 1773 Lawrence’s health began to fail. In 1782 he had an attack of paralysis, and in the same year moved from London to Canterbury, where he died on 6 June 1783. There is a memorial to him in Canterbury Cathedral.

His brother William and his family were individually painted by Romney in 1785, 1786 and 1788.

","3192","4900",[245],{"_70":242,"_72":243,"_74":244,"_76":105,"_78":77},[240,241],"2024-02-14T14:04:57","2025-08-19T12:23:29",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Circa 1790 England","37 inches (94 cm)","32 inches (81.5 cm)",{"_80":246,"_82":247,"_84":228,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61.jpg","https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-61-100x100.jpg 100w",24610,"portrait-of-an-arabian-man","Portrait of An Arabian Man","https://cms.timothylangston.com/shop/pictures/portraits/portrait-of-an-arabian-man/","/shop/pictures/portraits/portrait-of-an-arabian-man/","

Peg Foster - Portrait of an Arabian Man

Signed and dated 1972.

Oil on canvas, housed within a water gilded frame.

Dimensions refer to outer framed size.

","

Peg Foster – Portrait of an Arabian Man

Signed and dated 1972.

Oil on canvas, housed within a water gilded frame.

Dimensions refer to outer framed size.

","3199","1650",[267],{"_70":263,"_72":264,"_74":265,"_76":266,"_78":77},[261,262],"2024-02-15T14:04:11",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Dated 1972","28 1/2 inches (72.5 cm)","22 3/4 inches (58 cm)","1 1/2 inches (3.75 cm)",{"_80":268,"_82":269,"_84":270,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64.jpg","https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64-316x311.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64-1024x1007.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64-768x755.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64-337x331.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2024/02/3956-64-1232x1211.jpg 1232w","Portrait of an Arab",25082,"henry-wyatt-1794-1840-portrait-of-robert-banks-jenkinson-2nd-earl-of-liverpool-1770-1828","Henry Wyatt (1794-1840) Portrait of Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828)","https://cms.timothylangston.com/shop/pictures/portraits/henry-wyatt-1794-1840-portrait-of-robert-banks-jenkinson-2nd-earl-of-liverpool-1770-1828/","/shop/pictures/portraits/henry-wyatt-1794-1840-portrait-of-robert-banks-jenkinson-2nd-earl-of-liverpool-1770-1828/","

Henry Wyatt (1794-1840)

Portrait of Robert Banks Jenkinson, 2^nd Earl of Liverpool (1770-1828); British Prime Minister

Oil on millboard in a period frame

Provenance: Gifted by Lord Liverpool to his cousin Mordaunt Ricketts and thence by descent (inscribed verso).

Commissioned by the sitter from Henry Wyatt and gifted to his cousin Mordaunt Ricketts (1786–1862) in 1827 this painting derives from Sir Thomas Lawrence's portrait of Robert Banks Jenkinson, 2nd Earl of Liverpool in the Royal Collection and which now hangs in the Waterloo Chamber of Windsor Castle.

A contemporary inscription on the reverse explains that it was gifted by the sitter – who was then serving as Prime Minister – to his cousin Mordaunt Ricketts an envoy of the East India Company at Lucknow, Oudh, India. The inscription also states that the portrait was produced by Henry Wyatt, a pupil of Lawrence who was presumably sought out for the task.

This portrait exhibits many qualities expected from a work by Henry Wyatt. A pupil of Sir Thomas Lawrence, he continued his master’s style for another decade after the great man’s death. Many of his works remained quite true to Lawrence, combining a dashing brilliance of colour with the best displaying a vigorously expressed freedom of brushwork. He joined Lawrence in 1815 being engaged largely in producing quality studio copies and after a year was earning a substantial salary of £300 which is testimony to his exceptional abilities as Lawrence was known as an uncompromising taskmaster. It is unsurprising that Lord Liverpool turned to him to produce this version of his famous portrait.

","

Henry Wyatt (1794-1840)

Portrait of Robert Banks Jenkinson, 2^nd Earl of Liverpool (1770-1828); British Prime Minister

Oil on millboard in a period frame

Provenance: Gifted by Lord Liverpool to his cousin Mordaunt Ricketts and thence by descent (inscribed verso).

Commissioned by the sitter from Henry Wyatt and gifted to his cousin Mordaunt Ricketts (1786–1862) in 1827 this painting derives from Sir Thomas Lawrence’s portrait of Robert Banks Jenkinson, 2nd Earl of Liverpool in the Royal Collection and which now hangs in the Waterloo Chamber of Windsor Castle.

","3280",[289],{"_70":286,"_72":287,"_74":217,"_76":288,"_78":77},[284,285],"2024-04-20T13:44:56","2025-08-19T13:47:08",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Early Nineteenth Century, England ","18 inches (46 cm)","3 inches (7.5 cm)",{"_80":290,"_82":291,"_84":273,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142.jpg","https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2024/04/3966-142-100x100.jpg 100w",26591,"follower-of-sir-thomas-lawrence-portrait-of-a-lady","Attributed to Samuel Lane (1780-1859) - Portrait of a Lady","https://cms.timothylangston.com/shop/pictures/portraits/follower-of-sir-thomas-lawrence-portrait-of-a-lady/","/shop/pictures/portraits/follower-of-sir-thomas-lawrence-portrait-of-a-lady/","

Attributed to Samuel Lane (1780-1859) - Portrait of a Lady

An early nineteenth century portrait depicting a lady in furs before a red velvet curtain.

Oil on canvas in carved giltwood frame.

Dimensions refer to outer framed size.

Samuel Lane was one of the ablest assistants to Sir Thomas Lawrence and after leaving his studio forged a successful career as an independent portrait painter.

","

Attributed to Samuel Lane (1780-1859) – Portrait of a Lady

An early nineteenth century portrait depicting a lady in furs before a red velvet curtain.

Oil on canvas in carved giltwood frame.

Dimensions refer to outer framed size.

Samuel Lane was one of the ablest assistants to Sir Thomas Lawrence and after leaving his studio forged a successful career as an independent portrait painter.

","3533","4950",[310],{"_70":308,"_72":243,"_74":309,"_76":288,"_78":77},[306,307],"2024-12-19T18:01:47","2026-10-22T15:47:54",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"Circa 1830 England","30 1/2 inches (77.5 cm)",{"_80":311,"_82":312,"_84":294,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122.jpg","https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2026/10/3995-122-100x100.jpg 100w",28600,"19th-century-portrait-of-paul-dax-1503-1561","19th Century Portrait of Paul Dax (1503-1561)","https://cms.timothylangston.com/shop/pictures/portraits/19th-century-portrait-of-paul-dax-1503-1561/","/shop/pictures/portraits/19th-century-portrait-of-paul-dax-1503-1561/","

A nineteenth century portrait copy of the artist Paul Dax (1503-1561).

Oil on canvas in ebonised and parcel gilded frame.

Dimensions refer to outer framed size.

Paul Dax (1503–1561) was an artist of the Holy Roman Empire and is is known for his self-portrait dating to 1530. This is considered to be the earliest autonomous self-portrait from Austria. Born in the Tyrol, Dax led a very unsteady life. After having gained his reputation as a painter, he entered the army, engaging in several campaigns and the sieges of Naples, Florence, and Vienna.

By 1530 he had devoted himself to glass-painting. His works, which show considerable merit, are now held in the court house of Innsbruck, and the town-hall at Ensisheim, in Alsace. He also published several maps of his native land.

","3915",[330],{"_70":327,"_72":328,"_74":329,"_76":137,"_78":77},[325,326],"2026-02-04T12:18:04","2026-10-14T10:02:00",{"_33":67,"_37":68,"_35":69},{"_33":65,"_37":66,"_35":14},"German School, 19th Century ","26 inches (66 cm)","21 inches (53.5 cm)",{"_80":331,"_82":332,"_84":333,"_74":118,"_72":118},"https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177.jpg","https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177.jpg 1536w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-768x768.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2026/10/4032-177-100x100.jpg 100w","19th century German School oil portrait of Paul Dax (1503-1561) in an ebonised and parcel gilded frame",29046,"18th-century-reverse-glass-portrait-print-depicting-a-courtesan","18th Century Reverse Glass Portrait Print Depicting a Courtesan","https://cms.timothylangston.com/shop/pictures/portraits/18th-century-reverse-glass-portrait-print-depicting-a-courtesan/","/shop/pictures/portraits/18th-century-reverse-glass-portrait-print-depicting-a-courtesan/","

A mid-eighteenth century reverse glass print depicting a courtesan.

Housed within a period carved, ebonised frame.

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John Russell (1745-1806)

Portrait of Major-General Fawcett (1750-1827)

Pastel on paper c.1785; held in carved gitwood frame.

Dimensions refer to outer framed size.

Provenance: By family descent; acquired by E. M. Hodgkins, dealer and sold Christies 16th Feb 1907, lot 19, bought by Sabin, dealer; purchased by F. de Ribes Christofle and later sold Gallerie Georges Petit, Paris 10-11th Dec 1928, lot 50. Later sold Schoeller Galleria, Paris 21st June 1963, lot 30. William H Schab Gallery New York, exhibited 1969. No.20. English private collection.

Eldest son and namesake of General Sir William Fawcett (1727-1804). Commissioned in the 3rd Guards, he became aide-de-camp to General Kneiphausen, commander of the Hessian troops in the American war. He married Catherine Moore of Philadelphia while in America during the Revolutionary Wars. Later he became adjutant-general of Ireland, then quartermaster-general to the forces in Ireland and governor of Limerick 1804 till his death.

He came from a long-established Yorkshire family which appear to have gained status immeasurably by the military efforts of his father Sir William Fawcett, K.B., (1727-1804) in the eighteenth century. A brilliant military strategist and fluent linguist he proved significant in raising over 30,000 German troops under Frederick the Great to fight with Britain in the American Wars. At the same time his father achieved this, Fawcett, as a Captain, came with his regiment to America and was aide-de-camp to General Kneiphausen in the final year of conflict. After the evacuation of Philadelphia, von Knyphausen’s troops led the vanguard of the British forces as they relocated to New York City. For the remainder of the war he and his men guarded upper Manhattan eventually taking control of the combined British and Hessian garrison on the departure of Sir Henry Clinton. By then most of the theater of war had shifted to the South. When the war ended after the Siege of Yorktown and the capitulation of Cornwallis’s Army, Knyphausen returned home in 1782.

Fawcett found a bride during this harsh conflict and sired two sons who also forged careers in both the army and navy. His father’s career flourished greatly, with him ineffect becoming head of the British army. When he died in 1804 the future King of England (George IV) attended the funeral. Undiminished by his illustrious father's success, Fawcett went on to become a Major-General and obtained important military positions in Ireland. He died in Southampton in 1826.

On stylistic grounds John Russell appears to have drawn this portrait of Fawcett after his return from the American Wars and it probably depicts him in the attire of aide-de-camp. Typical colouring and liveliness of sketching together with an angled posture presents us with an engaging image of a notable army officer. In the past this portrait has been mistaken for that of the sitter’s more famous namesake – his father. The physiognomy and apparent age of the sitter, compared to the father and his many known portraits, support the view that this is an erroneous assumption. Fortunately, the definite provenance makes it clear that only from the 20th century has the confusion occurred when, as is so often the case in families, the illustrious father of the same name was assumed the sitter. This confusion still results in complicated misunderstandings in research as the life of the son is much less documented than that of the father.

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Portrait of Major-General Fawcett (1750-1827) by John Russell (1745-1806). Pastel on paper circa 1785; held in carved gitwood frame.

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