Specializing in 17th-20th century important historical portraiture.
fine & decorative arts
Dealers of Exceptionally Fine Art & Antiques
Specializing in 17th-20th century important historical portraiture.
Of Royal Interest
ELISABETH JERICHAU-BAUMANN (1819-1881)
also called "Peasant Woman of North Germany"
from The Personal Collection of Queen Victoria, Osborne House
Oil on Canvas
14in by 10in In a period giltwood frame with extensive provenance details to the reverse.
Given to Queen Victoria by her eldest daugher, Victoria, The Crown Princess of Prussia, Christmas 1868.
Catalogued by Sir Arthur Durrant in his Osborne House Inventory of 1876, p.330, no.513, as follows:
"PEASANT WOMAN OF NORTH GERMANY....MADAME JERICHAU-BAUMANN
An interior ; whole length figure, seated, and mending a stocking.
No.513. Canvas. 1 ft. 2in. x 10in.
Given to the Queen by the Crown Princess of Prussia, Christmas, 1868."
[Additional pencil notation circa 1931 reading: "HRH Pcss Christian"]
This superb rendition of European peasant life, depicting a young girl darning a stocking in the traditional costume of North Sealand, Denmark, was originally exhibited at The International Exhibition of London in 1862 as "No.1530 The Stocking-Mender, Jerichau, E.". The work was noted in the London Times (Aug 28, 1862 p.22) as follows: "The famous Danish [artist] has painted subjects from the peasant life of Denmark...her "Stocking Mender" is a graceful, girlish figure". This work is truly a remarkable piece of history; it was painted by one of the leading female artists of the 19th century, it was gifted to Queen Victoria by her eldest daughter while vacationing at Osborne House in Christmas 1868, it subsequently hung at Osborne until Victoria's death at that (her favourite) residence in 1901, it became property of Edward VII who converted Osborne House into a convalescent hospital during WWI at which time the work was removed from the Main Wing-First Floor of Osborne House, then became property of George V who gifted it, between 1910-1923, to Her Royal Highness Princess Christian of Schomberg House (London), who then bequeathed the work to her daughters HRH Princess Helena Victoria and Princess Marie Louise.
This small-scale masterpiece by Jerichau-Baumann was widely acclaimed as one of "her principal works" (as listed in her 1881 obituary), and we know that Queen Victoria had a deep respect for Jerichau-Baumann, both as an accomplished artist and - most especially - as a female businesswoman thriving in the midst of a male-dominated society. She was "the only Danish painter to attain international fame" [Gaze, D. Dictonary of Woman Artists, vol.1, 1997] and she was referred to as "the only real man in the Dusseldorf school" where she stidied in the 1830s [Kuehn, J. Female Poetics of Empire, 2014].
Elisabeth Jerichau-Baumann (1819-1881) was an internationally-acclaimed female artist, patronized by Napoleon III, Empress Eugenie, Queen Victoria, The Dowager Queen of Denmark, and well represented at The World Fair in Paris 1867 and 1878, The International Exhibition of London (1862), exhibited at The Bridgewater Gallery (London) in 1852 after which some of her works were purchased by Queen Victoria in a private presentation at Buckingham Palace (June 1852). She also exhibited at The Royal Academy of Arts (Copenhagen), Royal Academy of Arts (London), Paris Salons, and Dublin International Exhibition.
Two works which Queen Victoria acquired from Jerichau-Baumann still remain property of Queen Elisabeth II as part of The Royal Collection Trust (UK) - "Princess Alexandra of Denmark" (RCIN 402482) and "The Norwegian Widow" (RCIN 403833); the latter remains at Osborne House, where it hung during Victoria's reign.
Provenance: Given to Queen Victoria by her eldest daughter Victoria, Crown Princess of Prussia, Christmas 1868; Collection of Edward VII, at Osborne House until 1904 when removed from the Main Wing-First Floor designed by Prince Albert and converted to a convalescent home by 1911; Collection of George V; gifted to Her Royal Highness Princess Christian of Schleswig-Holstein (third daughter of Queen Victoria) between 1910-1923; bequeathed to HRH Princess Helena Victoria and HRH Princess Marie Louise (grand-daughters of Queen Victoria), Schomberg House, London, after 1923; Collection of Lou Goldberg (1921-2015), Montreal, Canada.
Oil on Canvas, signed upper right 'J da Costa '95'
83.8cm by 60.9cm In a remarkable period giltwood frame
Exhibited: London, Leighton House, 14 November - 7 December 1974.
This masterpiece of early impressionist portraiture was commissioned in Paris by the sitter, Lady Emilia Dilke, a widely renowned art historian, connoisseur, author, labour organizer and suffragist. As a truly immortalized Victorian character, Lady Dilke's intellectual and political career profoundly influenced Victorian society, and she gained celebrity status through George Eliot's "Middlemarch" in which heroine Dorothea Casaubon was modelled after Dilke.World renowned for her progressive work on French art, Dilke spent a large part of her life in Paris, where this work was painted. She was considered the preeminent British authority on French art, and is still admired as one of the earliest widely recognized female art connoisseurs.
John da Costa (1867-1931) was born in Teignmouth, England and recognized as an artist of great potential early in his career by Frederick, Lord Leighton. He received awards at the Paris Salon of 1906 and 1907, and he was a member of the Royal Institute of Oil Painters and the Royal Society of Portrait Painters. In 1974, a memorial exhibition was dedicated to John da Costa. of paintings from the collection of Mrs. Elizabeth M. Richards at Leighton House, London, in which this portrait was a featured exhibit.
Provenance: Emilia Frances, Lady Dilke (Paris, France); Sir Charles Wentworth Dilke, 2nd Baronet, PC; bequeathed to Miss Gertrude Tuckwell, J.P. (suffragette, niece of Lady Dilke, and first female J.P. of London); Chelsea Public Library Collection (gifted by Miss Gertrude Tuckwell 1919-20); collection of Mrs. Elizabeth M. Richards. Exh. Leighton House, London, 1974. Further details available upon request.
Portrait of a Jacobite, traditionally identified as
James Francis Edward Stuart, The Old Pretender of Scotland, dated 1755
Oil on Canvas, signed lower left 'Aw Soldi / Pinxit Ao. / 1755'
60.5cm by 50.5cm
Listed in John Ingamells "Andrea Soldi: A Checklist of his Work", Connoisseur 1974.
Sold at Christie's (King St, London) sale of Old Master Pictures, 11 March 1932, Lot 7. A. Soldi, Portrait of James Francis Edward Stuart, in brown doublet with breastplate, signed and dated 1755, 23 x 19in.
This exceptionally important work, by one of the most famous foreign portraitists working in 18th century England, has a long-held tradition of being identified as James Francis Edward Stuart, son of James II of England and VII of Scotland. Known as 'King James III' and 'The Old Pretender', James Stuart was father to Charles Edward Louis Philip Casimir Stuart 'The Young Pretender', also known as Bonnie Prince Charlie. As claimant to the thrones of Scotland and England from 1701 to his death in 1766, he launched several unsuccessful rebellions, the final being led by his son on Culloden Moor in 1746 - the last battle ever fought on British soil, and the end of the Jacobite rebellions.
In 1755, James III, then approaching the age of seventy years,was an aging man - he had suffered a stroke in 1754 which left him partially paralyzed and blind in one eye. This work may have been taken to Scotland by Soldi after it was completed, as records show Soldi in Scotland in 1755, and presumably it was commissioned by a Jacobite supporter there. As was the case with several of his works featuring Jacobite implications or sitters, Soldi signed this work as Andrew Soldi - not Andrea. See signature 'Aw. Soldi pinxit Ao. 1755'
Portrait of Miss Marshall as The Wild Irish Girl Circa 1833
Oil on Canvas, Circa 1833
37 inches by 28 inches (41 inches by 32 inches framed)
This very fine three-quarter length portrait depicts Miss Marshall as 'The Irish Girl' from Lady Morgan's (1776-1859) famous and highly acclaimed 1806 tale of 'The Wild Irish Girl'. This work was painted by Inskipp for the 1833 illustrated edition which has taken its place in history as one of the first and most important nationalistic historical novels, and as one of the most famous 19th century works ever written by a female author.
James Inskipp of Surrey exhibited numerous works at the Royal Academy of London from 1816 to 1864, and also at the British Institution and the Royal Society of British Artists, Suffolk Street. A number of Inskipp's paintings were engraved for use in contemporary novels, and his works appear in such historically significant writings as Sir Walter Scott's 'Waverley' novels, Sir Izaak Walton's 'The Compleat Angler' and Sydney Owenson, Lady Morgan's 'The Wild Irish Girl'.
Provenance: From the Moffett Collection; Formerly of The Spencer Collection (London, UK)
Portrait of William Holburn Fyfe of Greenock, Renfrewshire, Scotland, dated 1837
Oil on Canvas, signed lower right 'J. Fleming 1837'
16" x 19" (unframed); 26 1/2" x 29 1/2" (framed)
John Fleming was born in Greenock, Scotland in 1792 and painted numerous fine local scenes and landscapes there throughout his career. A member of the West of Scotland Academy, he remained in Greenock, and becaume one of the most successful artists from that region. His scenes around Greenock are highly prized by collectors of Scottish Art and grace the walls of many of Scotland's finest museums and private collections. His portrait are exceptionally rare. This work was painted to commemorate the marriage of a successful Renfrewshire ship chandler and a family friend of Fleming's - William Holburn Fyfe.
Brief Biography of the Sitter: William Holburn Fyfe was born on 5 July 1812 in Greenock, Scotland, son of John Fyfe of Port Glasgow and Elizabeth Holburn. Fyfe became a highly successful ship chandler in Greenock, supplying the countless merchant ships in the Port Glasgow area. This portrait was commissioned by his father in the year 1837 for the occasion of William's marriage on the 11th of June 1837 to Mary Mitchell, at the East Parish of Greenock. By Mary, his first wife, he had one son - Hugh Mitchell Fyfe - who continued the business after William's death in 1868.
Provenance: with James Connell & Sons, Ltd. Fine Art Dealers (Glasgow); Private Collection, Toronto, Canada
SIR CECIL BEATON (1904-1980)
Portrait of Evelyn Vernon Johnson at the Princeton Opera, circa 1950
Oil on board, circa 1950
Signed 'BEATON' upper right.
Commissioned by Robert Wood Johnson of Johnson & Johnson pharmaceuticals, this striking portrait of his second wife was painted circa 1950, when Beaton spent the summer vacationing at the Johnson's Princeton, New Jersey estate.
This three-quarter length portrait depicts Evelyn Vernon Johnson in a red silk opera cloak and carrying a fan, before attending the Princeton opera. In the 1950s Beaton produced many of his most famous portrait photographs of women including Audrey Hepburn, Elizabeth Taylor, Grace Kelly and Ingrid Bergman. He painted Pablo Picasso and Rex Harrison in a very similar style to the work presented here.
Beaton is one of the most celebrated portrait photographers of the 20th century, and is renowned for his images of elegance and glamour in painting, photography and costume and set design, the latter for which he won two Academy Awards, in 1964 for My Fair Lady starring Audrey Hepburn, and in 1957 for Gigi with Leslie Caron. As official photographer to the British Royal family, he was knighted in 1972.
Provenance: The Estate of Robert Wood Johnson (Princeton, NJ)
ADOLPHE JOURDAN (1825-1888)
"Madame Jourdan et son fils" the artists wife & son, circa 1860
Oil on canvas, circa 1860
17.5 inches by 15.0 inches
Signed 'A. Jourdan' lower left
One of three existing studies of the artist's wife and newborn son, this striking work by the famous French Neoclassicist Adolphe Jourdan is a true masterpiece. Of the three known works, this painting is the earliest as it depicts Jourdan's son as a newborn, the other works showing him at the age of one year, and later at three years of age.Jourdan's paintings are on permanent display in a number of museums including Nimes, France, SmithArtGallery and Museum, Scotland, Musee des Beaux-arts, Lyon, and Toledo, USA.
Jourdan was born in Nimes on the 4th of August, 1825. On the 3rd of April, 1844, he entered the “École des Beaux-Arts” where he apprenticed under Jalabert. From 1855 he exhibited in the Salons of Paris, and in 1876, in New York. Receiving medals of artistic excellence at the 1864 and 1866 Salons, Parisian society was enamoured with Jourdan's romantic and masterful female portraits.
RENE CLAROT (1882-1972)
"Ruelle Bruxelloise animee" dated 1918
Oil on canvas, dated 1918
Signed 'Clarot. R. '18' lower left
19.5 inches by 14.0 inches
A magnificent study of colour, movement and light depicting a street in
Brussels during The Great War. The Belgian post-impressionist painter Rene Clarot was a student at the Academy of Brussels from 1896-1905. He gained wide recognition, especially in France, where he exhibited extensively and was a member of the L'essor circle. The gallery L'Escalier in Brussels devoted an exhibit to a retrospective of Clarot's work. Rene Clarot lived and worked in Anderlecht, Elsene and Paris. He studied under H. Richir and C. Montald at the Art Academy of Brussels from 1896 until 1905. He was a well known painter of landscape, city and riverviews. His work is diplayed in numerous museums and public collections including the Museum de Charlier (Brussels) and the provincial museum of Namur. He is listed in Benezit.
Provenance: Private Collection, Copenhagen, Denmark. Price: SOLD
____________ HUGO VILFRED-PEDERSEN (1870-1959) View of the Ganges, near Gaumukh Circa 1908
Oil on Canvas, c1908.
22.0 inches by 20.5 inches
signed HUGO VP lower left
Hugo Vilfred Pedersen studied at The Academy of Fine Art in Copenhagen between 1886-1892 and afterwards under Henningsen at the School of Modelling. He painted scenes in England, Indonesia, India, German, China, Japan and the US, having travelled around the world seven times in his life. He lived in India for 12 years where some of his most remarkable scenes were rendered. He exhibited internationally, throughout the US and in China, Europe and India. He became a renowned painter in the British Indian colonies, painting both scenes of exotic life and portraits of local rulers, kings and dignitaries.
Provenance: Private Collection (West Sussex, England)
French school after Ferdinand Voet (1639-1689)
Portrait of Hortense Mancini, Duchess of Mazarin (1646-1699)
Oil on Canvas
17 3/4" x 14 1/2"
Renowned across Europe for her unequalled beauty, Ortensia - or Hortense - was one of five nieces of Cardinal Mazarin, and was infamous for her adventurous spirit, incredible skill with weapons and her fondness for dressing in mens clothing.
She moved to France at an early age. While living there, Charles II proposed to her, but the exiled king’s proposal was refused by her uncle, Cardinal Mazarin. Instead, at age 15 she married Armand-Charles de la Meillerage, one of the richest men in Europe. Her marriage to Meillerage failed, and she left her husband and her family home in the year 1666. Shortly after, Hortense wrote a memoir to justify her flight, portraying her husband as controlling, possessive, and spendthrift. With the exception of Marguerite de Valois, Hortense was the first women to put her memoirs into print in France.
She had numerous lovers and became mistress to Charles II of
England upon her arrival at the English court in 1675. In this striking portrait, the Duchess is portrayed in the guise of Cleopatra - a popular portrayal in the late 17th century, which shows Cleopatra dropping the sea pearl into a glass of water before drinking it. Provenance: Alfred Owens Aldridge (Champlain, IL) Price: Please Enquire
FRANCOIS JOSEPH HUYGENS (1820-1908)
Nature morte des huitres circa 1865
Oil on Panel, Circa 1865
4.0 inches by 3.5 inches (unframed)
A simply superb miniature still life, artfully rendered with quick, impasto strokes that perfectly capture the texture and colour of the oysters.
Francois Jospeh Huygens was born in Brussels and was renowned for his still lives of florals; this work is a fine example of the skill of Huygens, oysters being a highly rare subject by this artist.
Provenance: The estate of the Artist, thence by descent; Private Collection, Copenhagen.
18thc ENGLISH SCHOOL
Portrait of a Lady circa 1790
'The Wagner Portrait'
Oil on mahogany panel
12.5 inches by 10.5 inches
In a fine Regence giltwood frame
Wearing a low white bodice and orange-red skirt, a shawl draped from her right shoulder and tucked into the crook of her left arm, the sitter of this brilliantly executed portrait is captivating with her shy and yet alluring glance.
The reverse of the work bears a late 19th century collection label reading: "Collection Felix Wagner, Rembrandt House, Fordwych Road, London NW" inscribed "by John Hoppner, 1758-1810".
17thc BOLOGNESE SCHOOL attributed to FRANCESCO ALBANI (1578-1660)
The Ecstacy of The Magdelene circa 1640
Oil on unlined Canvas, c1640. 15.0 inches by 11.5 inches
17th century collection monogram to reverse of canvas
Francesco Albani's 'The Ecstacy of Mary Magdelene' is first recorded in the world-famous Sacchetti collection (Rome) where it remained from its creation circa 1640 until the history books next record it being sold at the 'Festa di Casa di Loreto' to art collector Giuseppe Petrucci in the year 1700. After the purchase by Petrucci, no further documentation of the masterpiece has been found - it has been considered a lost work.
This mid-seventeeth century devotional masterpiece is a remarkable piece of baroque art history, as it remains in completely original, untouched condition. The thick, unlined canvas bears a late 17th century monogram and inventory number.
Provenance: Collection of a nobleman (Swansea, Wales)