18th century portrait of the younger children of Giacomo Lomellini, Doge of Genoa 1625-1627 – After Van Dyke
The original version of this painting by Van Dyke of the family hangs in the National Gallery of Scotland and is considered as being one of his finest works.
Doge Lomellini was famous for implementing a famous defence project of the capital of Genoa – a substantial city wall from the San Benigno hill at the mouth of the Bisagno stream, a work that was the basis of the “New Walls”. In December, 1626 the doge laid the foundation stone and in the following years there were many donations from individuals, corporations, and the arts, to which were added the new taxes specifically designed to support the walls’ construction, paid for by the middle and less wealthy classes. The amount collected, approximately 2,100,000 Genoese pounds, did not serve to cover the entire construction, but was the basis for starting the works. His term as Doge ended on 25 June 1627, and Lomellini was elected from January 1628 to 1630 as head of the war magistrate. In 1634 he was in the office of the magistrate of Corsica and in 1637, and again in 1644, he led the commission of the State Inquisitor of the Republic of Genoa. In 1645 and until his death he took part in the direction of the restoration and modification of the Doge’s Palace. Lomellini died in Genoa on April 1, 1652.
Anthony Van Dyke (1599-1641) – Born in Antwerp to prosperous parents. Antoon van Dyck’s talent was evident and he became an independent painter around 1615, setting up a workshop with Jan Breugel the Younger. Within a few years he became the chief assistant to Peter Rubens, the dominant master painted of the whole of Northern Europe. He lived a good part of his early life in Genoa, although he moved to London to be granted citizenship by Charles I who commissioned Van Dyck to paint several portraits. The portrait of Charles I in three positions (1635-36) is one of the most famous images.
Width: 33″ / 84 cms framed size
Height: 39″ / 97 cms
One of a Pair of 18th Century Portraits – Oil on Canvas – Attributed to Joseph Highmore (1692-1780)
Portrait of Ann Morland (1709-1791) in Period Giltwood Frame
Anne Morland was the second daughter of Jacob Morland of Capplethwaite, Cumbria. Her father was a Justice of the Peace and a well known portrait of Jacob Morland with his dog, painted by George Romney in 1763, hangs in the Tate Gallery, London. Ann married William Matson of Titup Hall, Barrow in Furness, Lancashire. They had two children, Margaret and Ann – the latter married Tomas Morland (to whom we think she was related). They lived at Court Lodge, Lamberhurst, Kent.
Joseph Highmore was educated at The Merchant Taylors School, London. He began his career as a lawyer but abandoned this to study art at Sir Godfrey Kneller’s Academy. Highmore established a very successful practice as a portrait painted in 1715 and was described by George Vertue as being ‘distinguished in the first class of those who make the best figure’. His works are represented at The National Portrait Gallery and The Tate Gallery, London
Provenance: The Morland Family, Court Lodge, Lamberhurst, Kent
Width: 30″ / 76 cms
Height: 35″ / 89 cms
Portrait of William Matson – Circle of William Hoare of Bath (1706-1790/99)
Oil on Canvas in Period Carved Wood Gilded Frame
William Matson (1719-1764) – The Matson Family resided at Titup Hall in Dalton-in-Furness, Lancashire. William married Ann , the daughter of Jacob Morland of Capplethwaite. Their grave stone can be found in the Kendal Parish Church.
Williams Hoare of Bath R.A. – From an early age Wm Hoare excelled in Art. In the the early 1720’s he studied under Grisoni, and later in Rome under Imperiali (who taught Ramsay and Batoni) By 1739 Hoare had settled in Bath where he established a highly successful practice painting portraits in the mediums of crayon and oil. The influential Duke of Newcastle became his patron. He exhibited 22 times at the R.A.
Hoare’s work is represented in the National Portrait Gallery and the National Gallery of Scotland.
Provenance: The Morland Family at Court Lodge, Lamberhurst, Kent
Width: 30″ / 76 cms
Height: 35″ / 89 cms
Large 18th century Portrait – Oil on Canvas – Young girl seated with a parakeet – a country house in the background – a fountain playing in formal grounds
Width: 46.5″ / 118 cms
Height: 56″ / 142 cms
Portrait of a William Morland Esq (1692-1774) – Circle of Thomas Hudson (1701-1779) William Morland is shown holding the deeds to Court Lodge – inscribed on the letter in the Sitter’s left hand.
William Morland of the village of Morland in Westmorland purchased Court Lodge in 1733. He demolished the existing house and rebuilt it in the Queen Anne style in stone quarried from the ground. The Morland family became the Lords of Lamberhurst Manor and remained so until 1935.
Thomas Hudson was considered, along with Allan Ramsay, to be one of the most fashionable and accomplished painters of portraits in London during the period 1730-1740.
Width: 47″ / 120 cms – Framed Size
Height: 57″ / 145 cms
Portrait of King Charles I – Oil on Canvas – Circle of Sir Peter Lely – 1618-1680- Titled Lower Left – King Charles I – this derives from Lely’s double portrait of Charles I and The Duke of York in the collection of the Duke of Northumberland
Framed Size: Width: 34″ / 86 cms
Height: 39″ / 100 cms
18th century Portrait of a Lady in carved and gilded frame – attributed to John Astley (1724-1878) – Sarah Hamilton of Drumaspie, Dungannon, Co Tyrone – label on reverse – Sarah Hamilton, only child of William Hamilton of Drumaspie, married to Alexander Stuart – the portrait supposed to be by Ramsay of Edinburgh
Width: 27″ / 69 cms (Framed)
Height: 31″ / 79 cms
18th century Oil On Canvas of the Author, Samuel Richardson, by Mason Chamberlain
Oil on Canvas by Mason Chamberlain R.A. 1727-1787 – Samuel Richardson,, the Author, seated in his study with his son – Samuel, with his greyhound at his feet and holding a trundling hoop.
Samuel Richardson (1689-1761)
Samuel Richardson, the son of a carpenter, attended school only intermittently until he was 17 when he became an apprentice to a printer.
By 1739 he was the proprietor of a printing press and became an author almost by accident. Based on a stock of letters by a servant girl, it took him just 2 months to produce ‘Pamela’, a book many consider to be the first modern English novel. The book focuses on every day life of the ‘common people’ written in a lively conversational tone that reflected real experiences. His other most popular work (regarded as his finest) is ‘Clarissa’ published in 1747.
Richardson married Martha Wilde (his first employer’s daughter) and they had 6 children but sadly all of them later died. He married once again and had 6 more children with Elizabeth Leake of which 4 survived. One of his sons, Samuel, is depicted in this painting
Mason Chamberlain R.A. (1727-1787) began his career in a counting house in the City of London but turned to art and studied under Hayman, in whose manner he painted conversation pieces.
He was a founder member of the Royal Academy, exhibiting 50 works there between 1760 and 1786. He painted the portrait of Benjamin Franklin in 1762 and their Royal Highnesses Prince Edward and Princess Augusta in 1771.
His works are represented at the Philadelphia Museum of Art, The National Portrait Gallery, London, Yale NMM and the Milwaukee Museum.
18th century Portrait of Lady Crowley – Attributed to Thomas Hudson (1701-1779) – Provenance: The Lord Luke, Odell Castle, Bedfordshire
Framed Size:
Width: 31″ 79 cms
Height: 34.5″ / 88 cms
