English School (17th Century) Portrait of Vincent Denne of Kent (1628-1693), head and shoulders, in heavy lace-trimmed black jacket dated 1648 on the reverse and inscribed "One of the ancient Dennes of Kent, forefather of Septimus Pennington" oil on canvas 70 x 53cm (27 x 21in) Provenance: By descent within the Pennington family at Carter House, Deal, Kent. Vincent Denne (1628-1693) was a Member of Parliament in 1654 and from 1681 to 1685. He was the first son of Thomas Denne of Canterbury and Susan Honeywood and educated at Queen's College Cambridge from 1645-48 and Magdalen Hall Oxford (BA 1648, MA 1651). In 1655 he was called to the Bar (Gray's Inn) and married Mary, daughter of Thomas Denne of Denne Hill. They had four daughters. Denne came of a family long settled in Kent and armigerous since at least the reign of Henry III. One of them represented the county in 1320 and his father-in-law sat for Canterbury in 1624. His own return to the second Protectorate Parliament and his inclusion on the commission of the peace in the following year would indicate no great hostility to the regime. After the Restoration, however, in his petition for the surveyorship of the customs at Deal, he claimed that he had served Charles I by conveying letters to and from the fleet and that he had been obliged to leave the country. He also asserted that his father, 'who was servant to the last two Kings' had been imprisoned and lost £600 'to their utter ruin'. The customs commissioners recommended that the petition should be granted in view of Denne's 'long fidelity and activity'. Denne was removed from the commission of the peace after the Restoration, though he did receive the surveyorship at Deal. A practising lawyer, in April 1664 at the quarter sessions at Dover he defended two dissenters and 'pleaded ... so vehemently that some threatened to throw him over the bar'. Returned from Canterbury, five miles from his home, to the Oxford Parliament, probably as an exclusionist, he left no trace on its records. He did not stand again, though he may have become a Whig collaborator, being raised to the coif in 1688. He died on 8 Oct. 1693 and was buried at Kingston. No later member of the family entered Parliament. Cornelius Johnson's original portrait of Vincent Denne is in the Cheltenham Art Gallery and Museum, date painted: 1640, oil on canvas, 77 x 58.6 cm. Vincent Denne is a forefather of Septimus Pennington, MA, Rector of St Clement Danes, London. The Denne estates were Denne Hill, Kingston, Elbridge, Bishopsbourne, and Lydd, Kent, and Winchelsea, Sussex). We are grateful to Dr Joachim Whaley for his assistance with the catalogue entry. Old L-shaped large repaired tear upper right-hand corner. Very dirty. In its old gilt slip. Craquelure overall. "Cleverly restored January 1906" to the reverse in script. Suggestions of republicanism - perhaps family myths, which account for the regicide note, whcih appears incorrect..
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Follower of Cornelius Johnson (circa 1635-1640) Portrait of Martha Pennington (Mrs William Mitchell Sale), in a lace-trimmed black dress and wearing pearls, three-quarter length oil on canvas 92 x 72cm (36 x 28in) Provenance: By descent within the Pennington family at Carter House, Deal, Kent. William Mitchell Sale married Martha Pennington of Canterbury. She had an only daughter who married Thomas Pennington, A.M., Rector of Thorley Martha Pennington - Four areas of paint loss and damages - by her hand, by her lace collar and in her hair. Dirty and with craquelure overall. Scuffing all along the bottom edge. William Mitchell Sale - dirty and with craquelure overall. Both unframed.
English Provincial School (circa 1665) Portrait of William Mitchell Sale of Canterbury, three-quarter length oil on canvas 92 x 72cm (36 x 28in) Provenance: By descent within the Pennington family at Carter House, Deal, Kent. William Mitchell Sale married Martha Pennington of Canterbury, and had an only daughter, who married Thomas Pennington, Rector of Thorley. (Please see lot 892 for Mrs Margaret Carter of the Pennington family). William Mitchell Sale - dirty and with craquelure overall.
Follower of Sir Godfrey Kneller (British, 1646-1723) Portrait of a man in a grey curled wig, white cravat and red cloak, head and shoulders, in a painted oval oil on copper, in a black frame with gilt edging 36 x 28cm (14 x 11in) Provenance: From an Irish country house. A few superficial scratches to the paint surface.
George Romney (British, 1734-1802) Portrait of a gentleman in a green jacket and white stock, head and shoulders oil on canvas 74 x 62cm (29 x 24in) Provenance: Acquired in the north of England many years ago by the late vendor. Dr Alex Kidson plans to include the present portrait in his forthcoming addenda to his catalogue raisonne on George Romney, as an early Romney portrait. This hitherto unknown and unpublished painting is typical of George Romney's portraiture of the middle-1760s. It displays the solid technique, keen observation and avoidance of flattery that characterise many of his early works, made before he had fully engaged with metropolitan taste. The elegance, artifice and sophistication of design familiar in the artist's mature masterpieces are conspicuous by their absence; although Romney's instinct for colour harmony - later to be a classic ingredient of his fashionable portraits - is already subtly in evidence. Stylistically, this work is comparable with the portraits of Doctor James Ainslie of Kendal of 1765 (Bradford Museums) or the Reverend Robert Smith of Waddington, near Lancaster (Private Collection, Lancashire), dating from the same year. The 28 year-old Romney had travelled from his Kendal home to London in March, 1762 with the aim of making his name as a history painter. The following year he had been awarded a prize for his ambitious 'Death of General Wolfe', which brought him some notoriety in the London artworld. But Romney found, as many other artists did, that there was scant patronage for lofty paintings of subjects from history and literature, and his first years in London were something of a struggle. Twice, in the late summers of 1765 and 1767, he returned to the north-west (where he was something of a celebrity and could count on commissions) to replenish his coffers. Many portraits made on these two trips survive, whereas his pictures carried out in London before 1768 are few and far between. Although it is not impossible that this elderly gentleman lived in London, it is much more probable that he was from the north-west - a supposition re-inforced by the provenance of this painting, which was purchased by the previous owner in the north of England. Although the sitter's identity remains a mystery, some clue as to the social and geographical make-up of Romney's north-western patrons of the 1760s is provided by the names of 47 sitters from Kendal, Lancaster and district that Romney wrote down - probably because the commissions were in some way outstanding - in one of his notebooks. These clients were of the 'middling sort', merchants and men from the professions and their wives, often connected by family ties, friendship, or business (for an analysis see Helen Quartermaine: 'Who's Who in Lancaster: George Romney's 47 sitters' Transactions of the Romney Society, vol. 18 (2013) pp. 4-23). Of these portraits, around one third remain untraced and three are of older men: Mr Ashburner of Kendal, Thomas Saul of Lancaster and Henry Wilson of Hall Garth. That this portrait is of one of these three remains a tantalising possibility. We are grateful to Dr Alex Kidson for his assistance with the catalogue entry. Lined canvas. Stretcher ba marks and age craquelure evident. Paint has a fair amount of retouching across the surface including in the sitter's face. The retouching is not wholesale but but is locally applied to small areas of loss and abrasion. The appearance of the picture is good. Frame is in good condition.
Attributed to Sir Joshua Reynolds (British, 1723-1792) Portrait of a Gentleman, head and shoulders, in a blue velvet coat, lace cravat and gold waistcoat dated lower left "1752" oil on canvas, unframed 76 x 64cm (30 x 25in) Provenance: Vigers Harris, Plympton, and by purchase Harris & Sons, Plymouth, 13th March 1934; Mr W R Fox; Christie's, 2nd August 1956; From an Irish country house 406 LC old Christie's stencil to the reverse. Relined. There is a small area of paint loss to the left of his cravat and another area of damage on his blue coat. Craquelure overall. Various scratches. Unframed. Paint losses and scartches to his nose and just to the left of his face.
Follower of Anton Raphael Mengs (German, 1728-1779) Self-portrait of a draughtsman, holding a porte-crayon, wearing a grey wig tied with black ribbon, blue jacket and white cravat, head and shoulders, in a painted oval oil on canvas 61 x 48cm (24 x 19in) Provenance: From an Irish country house. The sitter is perhaps a pastellist. Scattered paint losses along the top edge and to the dark background. Quite dirty.
John Hutchison after Thomas Gainsborough (Scottish, 19th Century) Portrait of the Hon. Mrs Thomas Graham, head and shoulders signed on the reverse "John Hutchison" oil on canvas 75 x 49cm (29 x 19in) Thomas Gainsborough's original full length portrait is in the National Gallery of Scotland. Mrs Graham's portrait was painted a year after her marriage to the Hon. Thomas Graham. She fell ill and died during her journey to France in 1792, and after her death her husband could not bear to look at her portrait again and it was lost for many years, before being given to the National Gallery of Scotland. The present portrait probably dates from 1891 when the head was reproduced as a print by Thomas G Appleton. Blacks are coalescing. Craquelure overall. Two old repaired tears. Under glass.
Follower of John Constable (British, 1776-1837) Portrait of a young boy seated in a landscape, holding a tambourine, a coral and gold rattle and blue shoes oil on canvas 29 x 24cm (11 x 9in) Provenance: From an Irish country house. Old stretcher bar marks can be seen from the front. Slightly over-cleaned. Davy colourmaster canvas. Robert Davy, 83 Newman Street 1822-62 and 85 Newman Street 1863
Attributed to Richard Brompton (British, 1734-1782) A small child with a liver and white spaniel in a landscape oil on canvas 126 x 100cm (49 x 39in) Provenance: Acquired by the vendor's family in Scotland circa 1950 and by descent. Richard Brompton was a pupil of Benjamin Wilson and also of Johann Zoffany. He then went to Italy and spent some time in Rome, where he had lessons with Raphael Mengs. He was also introduced to the patronage of the Earl of Northampton, and accompanied the Earl to Venice when the Earl was appointed Ambassador to the Republic. In Venice Brompton painted a conversation-piece in which he introduced the portraits of the Duke of York and several English gentlemen then on their travels. The picture was afterwards exhibited at the rooms in Spring Gardens in 1763, at which time Brompton returned to England, and for some years practised portrait painting. Extravagant living brought him to the King's Bench, but he was rescued by the Empress of Russia, who requested that he go to St. Petersburg, where he was appointed portrait painter to the Empress, and met with much acclaim and portrait commissions. Richard Brompton died in St Petersburg, Russia, in 1782 and today his work is quite rare. We are very grateful to Hugh Belsey for his attribution to Richard Brompton. One bump to the right-hand side and a rub mark lower centre.
Attributed to Sir Martin Archer Shee (Irish, 1769-1850) Portrait of a gentleman, head and shoulders, in a painted feigned oval oil on canvas 77 x 63cm (30 x 25in) R and M canvas - 796. Prepared by Roberson and Miller, 51 Long Acre, London. Unframed. One small tear in the sitter's grey hair to his left. Dirty, scuff marks to the edges, craquelure overall. Circa 1828-1840.
After Sir Joshua Reynolds, PRA, FRS, FRSA (English, 1723 – 1792) Portrait of the Reverend Laurence Sterne, novelist and clergyman, head and shoulders pastel 52 x 46cm (20 x 18in) Laurence Sterne (24 November 1713 – 18 March 1768) was an Anglo-Irish novelist and an Anglican clergyman. He is best known for his novels "The Life and Opinions of Tristram Shandy", "Gentleman" and "A Sentimental Journey Through France and Italy". One area of damage/wear to the right of his wig, dirt under the glass, too. Old gilt frame has various chips.
Circle of Sir John Everett Millais (British, 1829-1896) Portrait of a lady, in a gold and black dress, seated, half length oil on canvas 90 x 70cm (35 x 27in) Provenance: By descent within the family of the sitter. A little dirty. One L-shaped tear approx 5in in length by her hand, running upwards, and there is a small bump near her head.
Miss S A Harding (British, 19th Century) Portrait of Mrs Margaret Carter, mother of Elizabeth Carter (1717-1806) oil on canvas 44 x 36cm (17 x 14in) Provenance: By descent at Carter House, Deal, Kent. Inscribed to the reverse: "copy of a portrait of Margaret, wife of Nicholas Carter, DD, Rector of Woodchurch in Kent, and sole daughter and heir of Richard Swayne Esq. of Bere Regis in the County of Dorset, mother of Elizabeth Carter and John Carter Esq. of Deal in Kent, and Margaret, wife of Thomas Pennington ... copied by Miss S A Harding, 1861" Elizabeth Carter (1717 - 1806) was one of the most remarkable and learned women of the 18th century. Tutored by her clergyman father, she taught herself ancient and modern languages, history, geography, astronomy and mathematics. She was also most proficient in needlework and domestic science. Elizabeth Carter rapidly gained a reputation as a poet, essay writer and translator of Epictetus, the Greek philosopher. She made a decision not to marry so that she could continue to study and write and remain independent. She became a member of the 'Bluestockings' a group of likeminded, freethinking literary women. She was praised in society circles as an example of what women could achieve in the enlightened 18th century England. Modern feminists now acknowledge that she made female intellectual endeavour respectable. Old inscription re the sitter to the reverse. A damage by her eyes, foxing to her chest, dirty and with craquelure overall.
Chinese School (late 19th early 20th century) - Portrait of a Chinese gentleman with goatee; Portrait of a Chinese man with fur hat A pair, oil on board Both with various inscriptions on reverse, the former inscribed Portait of [?]Yek 23 x 18 cm. (9 x 7 in)., and 20.5 x 18.5 cm. (8 x 7 1/4 in), respectively, (2).
Lonnie Stewart (American, 20th Century) Portrait of Broderick Munro Wilson in hunting kit signed lower right "Lonnie Stewart" oil on canvas 211 x 120cm (82 x 47in) Provenance: Private collection, Leicestershire. Lonnie Stewart is an American artist who has been commissioned to paint portraits of His Holiness Pope John Paul II, President Ronald Reagan,HRH Diana, The Princess of Wales and Sarah Ferguson, the Duchess of York. He lives between Peoria, Illinois and Charleston, South Carolina. Broderick Munro Wilson is a keen polo player and horse racing enthusiast who commissioned this portrait in the early 1980's
English Provincial School (early 18th Century) Portrait of a gentleman with his spaniel standing in a landscape with a woodcock at his belt and holding his flintlock sporting gun oil on canvas 125 x 100cm (49 x 39in) Provenance: From a Kent country house. Relined and cleaned. Craquelure overall. In period frame
Two 18th Century Italian bronze portrait busts after the Antique, the male and female heads darkly patinated, on later Sienna marble socle bases, both 21.5cm (8.5in) high (excluding bases) (2) Male has hole in head and rather than darkly patinated it has been painted in black. The female head is darkly patinated and both have medium scratching. Please see images
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