Circle of Daniel Dumonstier
1574 - 1646
Portrait of Anne of Austria
Oil on canvas
Image size: 32 x 26 inches
1713 - 1784
Portrait of a Lady in a Green Dress
Oil on Canvas, signed and dated 1747
Image size: 29¼ x 24¼ inches
Period gilt frame
Painter to King George III and widely recognised as one of the most talented portraitists of his generation, Allan Ramsay was born in Edinburgh in 1713. His father, also named Allan Ramsay, was a poet and playwright, best known as the author of The Gentle Shepherd (1725). Like many of the most prestigious portraitists of his age, the young Ramsay studied at the St. Martin’s Lane Academy in London, as well as training in the studio of Swedish painter Hans Hysing.
In 1736, Ramsay travelled to Italy for the first time, working at the French Academy in Rome under the instruction of Francesco Imperiali before moving to Naples, where he worked in the studio of Francesco Solimena.
Invigorated by his experience under the Italian-baroque masters on the continent, Ramsay returned to Britain in 1738 and set up his own portrait practice in Covent Garden. His work swiftly gained in popularity and he soon attained an impressive list of clients, including the Duke of Bridgewater, Sir Robert Walpole, the Lord Chancellor Philip Yorke, Earl of Hardwicke and Dr. Richard Mead. As well as expanding his list of clients in London, Ramsay also retained his contacts in his native Edinburgh, where he continued to maintain a studio. His work proved particularly popular amongst the Scottish nobility and he received a number of important commissions from figures such as the Duke of Argyll and the Duke of Buccleuch.
This beautiful portrait of a lady in a green dress was painted in 1747, the year which Smart cites as marking a watershed in Ramsay’s artistic development (see Smart, ‘The Art of Allan Ramsay’ in Smart, A. and Marshall, R. (ed.), Allan Ramsay 1713-1785, Edinburgh, (1992 p.20). Created in the same year that Ramsay presented his magnificent full-length portrait of Dr. Richard Mead to the Foundling Hospital in London, this work was most likely painted in London or in Edinburgh, where the artist was situated between the summer of 1747 and January 1748.
The portrait has a luminous quality and displays the natural sensitivity which Ramsay brings to much of his work, particularly in his portrayal of female sitters, a quality noted by Horace Walpole who praised Ramsay for his delicacy and expressed the opinion that he was superior to Reynolds as a painter of women (for quotation, see Smart, A. ‘The Art of Allan Ramsay’ in Smart, A. and Marshall, R. (ed.), Allan Ramsay 1713-1785, Edinburgh, (1992) p.11).
Ramsay visited Italy for a second time from 1754 to 1757, and it was on his return to London in 1757 that he received his first commission from Lord Bute, tutor to the Prince of Wales, to paint the heir to the throne. In 1761, Ramsay was chosen to paint the Prince, now George III, and his wife Queen Charlotte in full state coronation robes. The works were a great success and Ramsay was appointed Principal Painter in Ordinary to the King in March 1767 and subsequently spent much of his time producing copies of his coronation portraits and other works for the royal family. Ramsay’s career in painting was halted by an injury to his arm, which he sustained from a fall from a ladder in 1773. A close friend of Dr. Johnson and David Hume, and correspondent of the likes of Voltaire and Rousseau, Ramsay spent his latter years following his intellectual and literary pursuits until his death in 1784.
- Campbell, M. Allan Ramsay: Portraits of the Enlightenment, London, (2013).
- Smart, A. Allan Ramsay: A Complete Catalogue of his Paintings, London, (1999).
- Smart, A. Allan Ramsay: Painter, Essayist and man of the Enlightenment, London, (1992).
- Smart, A. and Marshall, R. (ed.), Allan Ramsay 1713-1785, Edinburgh, (1992).
1870 - 1963
Portrait of a Lady in Black Feathered Hat
Watercolour, signed lower left
Image size: 18 x 16 inches
Contemporary style frame
Portrait of a Lady in a Fur Collar
Inscribed and dated 1932
Oil on canvas
Image size: 15½ x 12 inches
1763 – 1835
Portrait of Lady Romilly
Watercolour and pencil
Image size: 9 ¼ x 6 ¾ inches
Alexander Pope was born in Cork in 1763, the son of Thomas Pope who was also a renowned portraitist. He studied in Dublin as a pupil of Hugh Douglas Hamilton. In 1977 and 1980 he submitted drawings and small portraits in watercolour to the Society of Artists in Dublin. In 1781 he returned to Cork, and practised as a portrait painter in miniatures and watercolours. His portraits are said to have been flattering and he was more anxious to produce a flattering picture rather than a true likeness.
Pope was involved in the theatrical world in Cork and eventually became a professional actor. He was very successful, for years performing the principal tragic parts at the Covent Garden, Drury Lane and Haymarket theatres in London. He also appeared frequently in Dublin. During his stage career he continued to paint portraits.In 1785 Pope contributed a portrait of ‘Mrs Siddons’ to the Royal Academy, and was a frequent exhibitor until 1821, submitting miniature, pencil and occasionally oil portraits. Many of his portraits, including several of prominent members of the acting profession, were engraved. Two portraits of Pope, one as ‘Henry VIII’ by Sharpe and another as ‘Hamlet’ by Gainsborough Dupont, are in the Garrick Club.
He was married three times: first in 1785 to Elizabeth Young, an actress, in Dublin. She died in 1797 and was buried in Westminster Abbey. His second marriage was in 1798 to Maria Anne Campion, a young widow (Mrs Spencer), an Irish actress. She died in 1803, aged 26, and was also buried in Westminster Abbey. Pope then married Clara Maria Leigh in 1807, the widow of Francis Wheatley RA. She was also an accomplished artist exhibiting frequently at the Royal Academy.
Alexander Pope died in March 1835, in his house in Store Street, Bedford Square, London.
Lady Anne Romilley (nee Garbett) was born in 1773 in Herefordshire and married Samuel Romilley in 1798, with whom she had two sons.
Samuel was a distinguished barrister at Grays Inn, and became a KC in 1800. He went on to become Solicitor Gemeral, and subsequently a Member of Parliament for the Whig Party. He was a vocal opponent of the slave trade and gave his support to the William Wilberforce Abolition campaign. He was a passionate speaker on this subject and once earned a standing ovation in the House of Commons, an incredibly rare occurrence.
Romilley was also a leading campaigner for the reformation of criminal law. In 1808 he managed to repeal the Elizabethan statute which made it a capital offence to steal from the person. In 1812 he had repealed another statute of Elizabeth I making it a capital offence for a soldier or a mariner to beg without a pass from a magistrate or his commanding officer. He succeeded in abolishing hanging, drawing and quartering in 1814.
In October 1818 Anne died on the Isle of Wight, after a long illness. Her death was a terrible shock to Samuel, and after returning to the family home in Russell Square he became delirious. Whilst unwatched for a moment he sprung from his bed and slit his throat and died within a few moments. His nephew, Peter Mark Roget, attended to Romilly in his final moments. His last words were recorded as 'My dear, I wish ...' presumably regarding his late wife.
Sir Herbert James Gunn R.A.
1893 - 1964
Portrait of Angela Blundell
Oil on canvas
Image size: 18 x 14 inches
Contemporary Style Frame
The Fine Art Society
Angela worked for Gunn, she was his secretary, saw sitters in and out, organised everything and must have sat for him too on an idle day.
We are gratefull to Chloe Gunn for this information.
Herbert James Gunn was born in Glasgow, 30th June 1893. He studied at the renowned Glasgow School of Art of René Mackintosh fame and subsequently at the Edinburgh College of Art. However, though a Scot by birth and artistic training, Gunn was to develop a style very much his own, an ‘international’ modern style imbued with influences from French Impressionism, modern British painting and his Scottish heritage.
Following his studies at Edinburgh Gunn travelled to Paris enrolling at the Académie Julian under Jean-Paul Laurens.
On his return to England, Gunn rapidly established himself as a leading painter of portraits in addition to landscapes and conversation pieces. Gunn exhibited at the Royal Academy from 1923, at the Royal Scottish Academy and in Paris, where in 1931 he was awarded a silver medal at the Société Artistes Français and a gold medal at the Paris salon of 1939.
Throughout the 1930’s and 40’s Gunn’s reputation as a portrait painter increased, he was to become the portrait painter of choice to Society and the Establishment, in 1953-54 Gunn reached his apogee as a portrait painter with the commission to paint the state portrait of H.M. The Queen.
Gunn was elected to the Royal Society of Portrait Painters in 1945 and President in 1953, the same year being elected ARA and a Royal Academician in 1961, Gunn was also a member of the National Society of Painters, Sculptors and Engravers.
A highly successful artist, Gunn was knighted in 1962 for his services to the arts; he died at his home in Hampstead, London on 30th December 1964.
The Royal Collection
The National Portrait Gallery
The National Gallery, London
The National Galleries, Scotland.
Late 18th Century
Portrait of a Lady
Pastel on paper, mounted on canvas
Image size: 28 x 23 inches
Contemporary style frame
Ernst Museum Auction
This pastel portrait of a lady dates from the late eighteenth century. She is pictured in a white muslin dress in the style made fashionable by Marie Antoinette, after she was painted wearing one in 1783. This could have been quite a daring choice for our subject as at the time Marie Antoinette was much criticised for allowing herself to be seen in attire that was deemed to be too similar to undergarments - indeed the style was called 'la chemise de la reine'.
It is certainly very different from the ornate rococo styles that had previously dominated. The mop cap worn by our subject suggests that she was a married woman, and obviously of some wealth judging by the intricate lace work and silk ribbons adorning her otherwise relatively simple dress.
There is an intriguing label attached to the back of this portrait - 'Ernst Museum Auction'. This suggests that it was once the property of Lajos Ernst, who was a noted Hungarian art critic and collector. During his life Ernst collected 6,500 articles from Hungarian history and art and founded a museum in 1912 to house his collection (the Ernst Museum in Budapest, which still exists today). An auction was held there twice a year between 1917 and 1937.
1879 – 1919
Portrait of Lajla
Pastel, signed bottom right & dated 1913
Image size: 21 x 16 ½ inches (53.5 x 42 cm)
Édouard Henri Louis Morerod was born in Aigle on 16 May 1879 and died in Lausanne on 22 July 1919.
When his father died in 1889, the family settled in Lausanne , where Morerod attended Cantonal College. In 1891, when his mother died, Edward and his sister were sent to boarding school. The young man studied at the Latin College in Neuchâtel, and then at the Cantonal Gymnasium from 1895. However, he passed his baccalaureate in Lausanne. Demobilized from his military service in 1899, Édouard Morerod began studying at the School of Fine Arts in Munich.
In 1900 he went to Paris where he met Steinlen, a great influence on his work. In 1901, Morerod spent three months in Lotarevo in Russia, and from there travelled the country. Before returning to Lausanne, he visited Athens, Rome and Seville. He settled in Paris in 1910, and enjoyed considerable success there with his portraits.
Édouard Morerod travelled to Seville in 1919, but his state of health forced him to return to Switzerland . After a short stay in Leysin, he went down to Lausanne, where he died on July 22, 1919. His body was buried in the Montoie cemetery .
Lausanne, Cantonal Museum of Fine Arts
Lausanne, Historical Museum
Neuchâtel, Museum of Art and History
Pully, Art Museum
Vevey, Jenisch MuseumBordeaux, Museum of Fine Arts
Granada, Alhambra Museum
Paris, National Museum of Modern Art
1707 - 1792
Portrait of a Gentleman in a Blue Coat
Image size: 23 x 18 ⅛ inches
Contemporary gilt frame
Hoare was born at Eye, Suffolk, 1707. He was the son of a prosperous farmer and brother to the sculptor Prince Hoare (d.1769). Hoare was a pupil of Guiseppe Grisoni (1699–1769) with whom he went to Italy in 1728. He stayed for nine years, studying under Imperiali and supporting himself comfortably by copying famous masterpieces.
Hoare then settled in Bath 1739 and was its most fashionable portraitist in oil and crayons until the arrival of Gainsborough in 1759, although he remained in demand until giving up painting in about 1779.
Hoare died in Bath on the 9th December 1792, in prosperous circumstances. His son Prince Hoare (1755–1835), also a painter, studied under him and under Mengs in Rome, but gave up painting for writing after 1785.
1901 - 1985
Oil on canvas, signed and dated 1924
Image size: 31 x 21 inches
Hand made contemporary style frame
Kristian Kreković was a Yugoslav painter of portraits and ethnographic art. Later in life he became fascinated with Incan art, and spent a number of years in Peru.
He painted portraits of many notable figures, including Gandhi and members of various European royal families. His portrait of Queen Mary still hangs in Buckingham Palace today.
From 1960 on, he resided in Mallorca, where he died in 1985. The island has a museum named after him and devoted predominantly to his art..
Oil on canvas
Image size: 26 x 22 inches
Contemporary gilt frame
This superb portrait shows the artist ready to conquer the world, obviously a highly trained hand who currently alludes detection.
Frans van der Mijn
1719 - 1783
Portrait of a Lady
Oil on board
Image size: 6¾ x 6¼ inches
Period gilt frame
Van der Mijn came from a family of Dutch artists and his father, Herman van der Mijn (ca. 1684-1741), arrived in London around 1721 from Antwerp. After a childhood in London, Frans worked in Amsterdam and The Hague in the seventeen forties and fifties, returning to London to exhibit annually at the Society of Artists between 1761 and 1772.
This charming portrait resembles a grisaille oil now at the Rijksmuseum dated 1756. In keeping with much British portraiture of the period, an underlying naturalism (in this case Dutch), is enhanced by stylistic touches and exotic elements that hint at allegory and demonstrate admiration for French art—a combination that predominated in 18th century London until the Royal Academy was founded in 1768, and interest in Italian sources renewed.