Isherwood Fine Art

The portrait of the Dalbiac family, attributed to English artist Charles Philips painted circa 1730, has now been re-framed in a more appropriate ‘Carlo Maratta’ style frame, which is such an improvement on the poor quality frame that it arrived in.

I’ve been lucky enough to meet some of the descendants of one of the little boys in the painting who have generously shared some fascinating family history - from the father’s perilous escape to England from persecution as Huguenots in France in the late 17th century, to their great success in the trade of fine silks and fabrics.

More information on this charming conversation piece can be found on the website, via the link in the bio.

AVAILABLE
Attributed to Charles Philips (1703-1747)
The Dalbiac family in the gardens of a country house.
Oil on canvas
93 x 133cm

Just added to the website, a portrait of Lady Catherine and Lady Jane Brydges, Marchionesses of Carnarvon by James Maubert (1666-1746).


Catherine (1725-1807) and Jane (1727-1776) were the daughters of John Brydges, Marquess of Carnarvon, Viscount Wilton and heir apparent to the Duke of Chandos and Catherine Tollemarche, daughter of Lionel, 3rd Earl of Dysart.

James Maubert who was born in Dublin, was from a French Huguenot family. He trained under Dutch artist Gaspar Smitz who specialised in flower paintings.
The diarist George Vertue said of Maubert that he was ‘ a good ingenious civil man… he not only paints from the Life but is very skillful in the painting of fruits and flowers . His draperys are well dispos’d and natural’.

Oil on canvas in a magnificent period Lely frame.

Canvas: 116 x 150cm (45 1/2 x 59in)
Frame size: 137 x 172cm (54 x 67 1/2in)

AVAILABLE - more details can be found on the website, via link in bio.

A group of family portraits by George Romney coming to auction together is a fairly rare occurrence so the viewing last weekend in the grounds of Prinknash Abbey was the perfect opportunity to see them before they disappear again into private hands. The portraits were recorded as hanging in Buxted Park in Sussex in 1908, having been inherited through the family of the Earls of Liverpool.

Two of the portraits caught my eye, the first was of Anne, the youngest daughter of James Evelyn of Felbridge. The second is of her elder half sister, Julia Annabella by her father’s first marriage who married Sir George Shuckburgh and who became her father’s sole heir.

I thought the portrait of Anne painted in 1788 when she was aged twenty was particularly lovely but the story of her tragic end aged only twenty four when her gown caught fire created such a sense of sadness around it. It nevertheless sold for a healthy £26,000 ex commission.
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Who wouldn’t love this on their wall?
My auction pick this week was a wonderful portrait of a greyhound, listed as circle of the celebrated 18th century French artist Jean-Baptiste Oudry, which sold yesterday through Freeman’s in Philadelphia for $35,000 ex commission.
It had previously sold at Sotheby’s New York in 2010 as French School for $43,750, so not a bad buy for the lucky new owner.

This delightful smaller scale portrait of a 17th century Dutch lady leaves us today for her new home across the pond ✈️

Caspar Netscher was admired for his precise eye and skill in painting the intricate details of the clothes and jewels of his sitters and decorative background settings. He had completed his training with Gerard Ter Borch whose finely detailed interior scenes had a marked influence on Netscher’s portraiture style.

Caspar Netscher (Heidelberg 1639-1684 The Hague)
Portrait of a lady seated in an ornamental garden at dusk, circa 1680
Oil on canvas
62 x 52cm
NOW SOLD

To see more Dutch 17th portraits currently available, browse our website, wwww.Isherwoodfineart.com, via link in bio.

Detail from a 17th century double portrait just acquired of the sisters Catherine and Jane Brydges, Marchionesses of Carnarvon, seated in an arcadian landscape, attributed to James Maubert (Dublin 1660-1746 London).

Looking forward to sharing more images soon as it progresses through conservation.

Oil on canvas in a period Lely panel frame.
115.8 x 150cm (45 9/16 x 59 1/16in).
Coming soon to website

I’ve visited Pompei a few times over the years, and it never fails to impress - the sheer scale of the place is quite overwhelming. There appear to be so many more incredible mosaics and wall paintings to enjoy than 20 years ago. What a vibrant, cultured and beautiful place it must have been to live.

The second image shows Vesuvius looming in the distance at the end of a deserted street. How absolutely terrifying it must have been for the thousands of Pompei residents who perished here back in 79 CE.

Hooray - we are off to Pompei!
Looking forward to seeing this chap in situ where he was discovered by archaeologists in 1830.

The original dancing faun was installed in the middle of an impluvium, a pool in the ruins of a grand Pompeiian house, destroyed by the eruption of Mount Vesuvius near Naples in 79CE. The house was named the House of the Faun after the statue, which, much like the great Alexander Mosaic from the same house, immediately became famous. Thought to be based on an earlier Hellenistic work, an English traveller in 1838 declared it ‘the Venus de Medicis of Sylvans’.

Romans often connected their depictions of fauns with Pan and Greek satyrs, who were the wild followers of the Greek god of wine and drama, Dionysus.

In 1860, the antiquities from Pompeii including this statue were put on view for the general public in the National Archaeological Museum at Naples. Permits for taking molds from antiquities in order to copy them were soon granted to various individuals and institutions. The reproductions that these enterprises offered were often reduced in scale, making them easy for Grand Tourists to take home to northern Europe, Britain, or America.

A 19th century Grand Tour cast bronze model of the Pompei ‘Dancing Faun’
80 x 28cm
AVAILABLE
For more details, go to the website via link in bio.

These fortunate spaniels, named Gipsy and Fairy were the favourite dogs of Lord Methuen of Corsham Court in Wiltshire. They were able to enjoy roaming the idyllic parkland setting seen in this painting, complete with large lake and lots of birds and wildlife to keep them occupied!


The Methuen family were very fond of animals and 18th century visitors to Corsham Court would comment on the menagerie of dogs, parrots and other birds to be found there. Lord Methuen clearly inherited this love of animals and chose to celebrate and immortalise his beloved dogs through this delightful painting.

Lord Methuen’s favourite spaniels by William Barraud (1810-1850)
Signed and dated ‘W Barraud F 1849’ (centre right).
Oil on canvas
81.3 x 104cm
AVAILABLE

The spring-like colours of lemon silk with a sugar pink ribbon worn in this portrait of a young woman playing her cello show the influence of the playful, lighter, decorative French rococo style favoured by artists such as Watteau and Fragonard.
It was painted by her father, the Hamburg born artist Balthasar Denner (1685-1749) who loved music and it is said that his children, who were all talented musicians, would often play for him and his sitters while they posed for their portraits.

As well as the royals and nobles of Europe, Denner’s clients included musicians he greatly admired such as Georg Friedrich Handel, painted in 1726 (National Porttrait Gallery London) and again in 1733 (Berlin, Deutsch Historiches) and Johann Sebastian Bach with his three sons (1733, private collection).

Catharina Denner playing the cello in yellow, circa 1730.
Oil on canvas
88 x75cm.
AVAILABLE
For more details, view on the website via link in bio at www.Isherwoodfineart.com.

Wishing all our friends and followers a very Happy Easter! 🐣

Previously with
Portrait of a young girl with a lamb, attributed to John Closterman (1660-1711), circa 1690.

Prince Paul (or Paolo) Petrovich Troubetzkoy (1866 - 1938) was an artist and a sculptor who was described by George Bernard Shaw as ‘the most astonishing sculptor of modern times’.
He was the son of Russian diplomat, Prince Peter Petrovich Troubetzkoy and his second wife, lyric singer Ada Winans.

Heralded as the father of Impressionist animal sculpture, Troubetkzoy taught and influenced a generation of artists. His passionate love of animals is reflected in their frequent appearances in many of his most celebrated portraits. His fingers moved quickly and intuitively through the malleable plastilene to produce lifelike maquettes which were equally captivating when cast in bronze. A passionate vegetarian and pioneering animal-rights advocate, Troubetzkoy kept a collection of hounds, wolves and even bears.

AVAILABLE
A late 19th century bronze figure of a hound
After Prince Paul Troubetzkoy

For more details, view on the website via link in bio.

This early 18th century portrait of the Duchess of Bolton has just arrived back from the restorers after some minor conservation work and is now waiting to be reunited with her frame.

Henrietta Paulet, Duchess of Bolton (née Crofts; c. 1682 – 27 February 1730), was the third wife of Charles Paulet, 2nd Duke of Bolton.

The elder daughter of James Scott, 1st Duke of Monmouth (who was the illegitimate son of King Charles II), by his mistress Eleanor Needham, Henrietta took the surname of “Crofts” that had been assumed by her father when he was in the care of the Crofts baronets. Her mother’s sister, Jane Myddelton, was one of the celebrated Windsor Beauties.

Henrietta married the Duke of Bolton in Dublin in about 1697,some years after the death of his second wife, Frances.

From 1714 to 1717, the duchess was a Lady of the Bedchamber to the Princess of Wales, Caroline of Ansbach.She was one of the aristocratic female signatories to Thomas Coram’s petition to establish the Foundling Hospital in London, which was presented to King George II in 1735. She signed the petition on 25 April 1729, and Gillian Wagner suggests that the Bolton family members may have signed as a result of their ‘personal experience of illegitimacy in the[ir] family’.

Portrait of Henrietta Paulet, attributed to Maria Verelst (Vienna 1680 - 1744 London)
Oil on canvas
50 x 40 inches

More details coming to the website soon .

A terrier named ‘Joe’ standing in an English country house walled garden by the eminent animal artist John Emms (1844-1912).
Oil on canvas, circa 1890
48 x 56cm
AVAILABLE

Emms was born in Norfolk and is believed to have trained under Frederick Leighton. His works are mainly in oils and feature bold brush strokes and a generous layering of paint giving depth and rich texture to his subjects. He exhibited frequently at the Royal Academy and famously painted a series of Clumber Spaniel works for the Duke and Duchess of Newcastle.

More details on this portrait by Emms can be found on our website via link in bio, as well as our full range of dog portraiture currently available.

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The restoration of this 18th century Dutch painting of a family in an interior by Hendrick Pothoven (1725-1807) is coming along nicely. Removal of the heavy darkened varnish has revealed the charming details of this harmonious family scene in the interior of a comfortable 18th century home and the interesting objects they have chosen to be depicted with. The Culpeper microscope on the table and globe on the floor are intended to convey the scientific and geographical interests of the gentleman.

Swipe to see the remarkable difference before and after cleaning.

More details will be available soon

🍀Happy St Patrick’s Day to all our friends, followers and relations from the Emerald Isle 🍀

The artist Charles Jervas was born in Ireland in 1675. He trained at Godfrey Keller’s academy in London and in Rome. He established a successful portrait practice and painted many of the great painters of the day before becoming Painter to King George I after Kneller’s death in 1723.

This portrait of Henrietta Pelham-Holles, Duchess of Newcastle (1701-1776) was painted by Jervas in around 1715. She was the wife of the British Prime Minister Thomas Pelham-Holles, 1st Duke of Newcastle (also painted by Jervas) and the granddaughter of Sarah and John Churchill, 1st Duke of Marlborough. She brought her already well-connected husband into a further Whig dynasty, and this association with the foremost political families in the country enabled Newcastle to remain a figure of consequence in British government until he resigned as Prime Minister in 1762.

Charles Jervas (1675-1739)
Portrait of Henrietta Pelham-Holles, Duchess of Newcastle
Oil on canvas
126 x 104cm (49 1/2 x 41in)
AVAILABLE

Samuel John Carter (1835-1892) was an English animal painter. Originally from Swaffham in Norfolk, he worked between London and Norfolk, establishing himself as the principal animal painter for the Illustrated London News from 1867 to 1889. He also took commissions to paint his Norfolk patrons’ horses and dogs, exhibiting regularly at London’s Royal Academy and attracting praise from John Ruskin.
Many of his children inherited his artistic ability, but his most famous child was Howard Carter, who became known internationally as the archaeologist who discovered the tomb of Tutankhamun.

A spaniel standing on a yellow silk day bed in a sumptuous interior, by Samuel John Carter (1835-1891)
Oil on canvas
25 x 30in (63.5 x76.2cm)
AVAILABLE

For more details on this painting and to see see our full selection of 18th and 19th century dog paintings currently available, go to the website www.isherwoodfineart via link in bio.

Aside from the lovely painting which arrived today, I am thrilled with the original period Auricular ‘Sunderland’ frame that it has been framed in. Original frames of this type are so rare and sought after - this is the first one I’ve been able to buy in years.

This frame pattern takes its name from the Second Earl of Sunderland, Robert Spencer who built Althorp in Northamptonshire, between 1665 and 1668. He built a long picture gallery and reframed his extensive portrait collection including works by Van Dyck, Lely and Beale in a version of the baroque Auricular frame (referring to the swirling ear-lobe type decoration) which was the height of fashion at the time.

The ‘Sunderland’ frame style is characterized by a cartouche at the top, grotesque mask at the bottom, and leafy ornament incorporating cartilaginous and lobe like forms that suggest grotesques or heads of beasts. The swirls of ornament, unusually, form an indented and uneven inner and outer edge. The frame is carved from four relatively thin planks of oak or pine, assembled on a half-lapped pine back frame.

Examples of the Sunderland frame being used as a house framing style can be seen at Althorp, Ham House, and Kingston Lacey.

Swedish born artist Michael Dahl moved to London in 1682, where he remained for the rest of his career, rising to become the closest rival to Court Painter Sir Godfrey Kneller.

His patrons initially would have come from Swedish royal and diplomatic circles, but his circle rapidly expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones. He became known for being able to respond to his sitters with empathy and a sensitivity which also differentiated his work from that of Kneller.

Michael Dahl (1659-1743)
A lady and her daughter with an exotic bird, circa 1715
Oil on canvas
142x 118cm
AVAILABLE
See more details on the website, via link in bio.

17th portrait portrait of the Hon. James Thynne as a young boy, seated beside a garden fountain whilst capturing water with a shell. Painted by Johann Kerseboom, circa 1683.

James was the son of the 1st Viscount Weymouth and glimpses of the ancestral home, Longleat House, can be seen in the background.
This portrait was painted when the sitter was three years and six months old, according to a mezzotint of the painting by William Faithorne, c.1695, which confirms the identity of the sitter and artist.

AVAILABLE
Oil on canvas, 145 x 123cm
More details are available on the website, via link in bio.

The mysterious Madame Hodenet

This gorgeous portrait by George Romney (1734-1802) just sold at auction in Oxford. The portrait is recorded in Alex Kidson’s catalogue raisonneé, but nothing is known of the sitter’s identity other than her surname. It’s thought that Romney painted her whilst on his travels either in France or Italy.
A nice research challenge for someone!

Congratulations to the lucky bidder👏

William Craven leaves us to reside in a beautiful Georgian country house in Hampshire.

Painted by Thomas Beach (1738-1806) circa 1776, William is portrayed looking particularly dapper in his green coat with silver buttons, matching green breeches and embroidered blue silk waistcoat. It was fashionable for men of a certain class in the 18th century to express their personal style through dressing as elaborately and as colourfully as their female counterparts.

As well as many grand homes such as Benham Park in Berkshire, William Craven was also responsible for the building of a small rural retreat, Craven Cottage by the Bishops Palace next to the River Thames in Fulham in 1780, which is now the home of Fulham Football Club. The woods which used to surround the area were previously used by Anne Boleyn as hunting grounds.

Portrait of William Craven by Thomas Beach (1738-1806), circa 1776
Oil on canvas
127 x 100cm
NOW SOLD

After a weekend rehang, we found the perfect corner to place this charming 18th century portrait of young girl wearing a pretty patterned shawl.

Circle of Tilly Kettle (1735-1786)
Portrait of a young girl, circa 1785
Oil on canvas
AVAILABLE
For more details, visit the website via the link in the bio.

Our sitter may possibly have been a daughter of a merchant or official working for the East India Company in the 18th century. She has chosen to wear a pretty printed or hand painted Indian shawl. During the 18th century Indian textiles provided 60% of the total value of the East India Company’s sales in London. The Company purchased many fine Indian textiles, including muslins, painted or printed chintz and palampores, plain white baftas, diapers and dungarees, striped allejaes, mixed cotton and silk ginghams, and embroidered quilts. Indian craftsmen were masters of colour-fast dyeing techniques, and many fabrics showed wonderful designs and colour combinations produced by hand-painting and wood-blocking.

Henrietta Hyde, Countess of Rochester (1646-1687) looking resplendent since being rehoused in a more suitable British ‘Lely’ or panel frame, with its centres and corners decorated with flower sprays in shallow relief between shaped panels or reposes.

The panel frame emerged in the 17th century and as court painter Peter Lely used them so frequently for his portraits, they became associated with him and known as the ‘Lely’ frame.

AVAILABLE
Peter Lely (1618-1680) and Studio
Portrait of Henrietta Hyde (née Boyle), Countess of Rochester, (1646-1687)

Oil on canvas, 49¾ × 40 1/8 in. (126.4 × 102 cm.)

Provenance: By descent through the Dukes of Leeds, ex Hornby Castle, Yorkshire.

This painting from the new Angelica Kauffman exhibition at the Royal Academy is particularly special because it tells a story about her.
Angelica painted several self-portraits but this painting depicts her personal dilemma of choosing between a career in music or art. Angelica was a gifted singer and clavichord player, and the painting depicts an important crossroads in her life and a decision that she clearly had to wrestle with. We see her caught between the personification of music and art - not wanting to let go of her beloved music but knowing that she must follow the inevitable path that awaits her as an artist.

Thank you RA for a delightfully quiet evening visit!
Exhibition opens today and runs until June 30 2024.

Self-portrait at the Crossroads between the Arts of Music and Painting
1794
Oil on canvas
On loan from Nostell Priory, Yorkshire

Joseph Highmore abandoned his early training in law to pursue a career as a portrait artist. He attended the famous anatomical lectures of William Cheseldon and Sir Godfrey Kneller’s drawing academy whose influence can clearly be seen in this portrait.
Unusually for artists of this period, he did not use students or drapery painters; as he proudly wrote ‘I do everything myself, which I believe is not true of one painter in England besides’ (letter to James Harris, 1741).

Portrait of a lady and her daughter holding a sprig of blossom, circa 1720
Attributed to Joseph Highmore (1692-1780)
Oil on canvas
146 x 121cm
AVAILABLE

More details are available on the website via link in bio.

Artist George Romney (1734-1802) trained under local portrait painter Christopher Steele (1733-1767) in his studio in Kendal in the Lake District.
Steele had studied in the studio of Carle Van Loo in Paris, where it’s said he acquired an extravagant manner that led him to be known as ‘Count” Steele.
After his return to England, the young George Romney was apprenticed to him for four years. Romney, in his memoires, reported several adventures with his teacher (mostly of the nature of wine, women and song) and in 1756 Steele eloped with an heiress to Lancaster and so ending Romney’s apprenticeship with him prematurely.
Thankfully this shortened period of training didn’t hold Romney back from becoming one of the most popular and accomplished artists of the period and his time with Steele lay enough of a foundation to set him on his path.

Christopher Steele (1733-1767)
Portrait of a young Giles Moore in his study
Oil on canvas
110 x 91cm (43¼ x 36in)
NOW SOLD