Ventes d'œuvres le 1827.-.-

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  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Noel, Baptist -- And Penelope Noel, 1679. Netscher. On Canvas, 18 inches by 14. These pictures are portraits of two of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who performed eminent services for King Charles I. Baptist Noel is represented in rich crimson Roman costume. Both pictures were inscribed with the date '1679,' and the female, described as 'The Ladye Penelope Noel,' is pourtrayed seated on a bank, holding flowers. Finely painted. In appropriately French carved frames, newly gilt 12l. 12s. i.e., £12.12 (Netscher)|Noel, Baptist -- And Penelope Noel, 1679. Netscher. On Canvas, 18 inches by 14. These pictures are portraits of two of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who performed eminent services for King Charles I. Baptist Noel is represented in rich crimson Roman costume. Both pictures were inscribed with the date '1679,' and the female, described as 'The Ladye Penelope Noel,' is pourtrayed seated on a bank, holding flowers. Finely painted. In appropriately French carved frames, newly gilt 12l. 12s. i.e., £12.12]] réalisée par Netscher au prix de 12.12 £. [2]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Sun-Rise, -- a Cattle Piece The back ground of this picture represents the country as seen from the walls of Chester. The Cattle being the principal objects, they occupy, with Figures, the whole of the front ground. In the possession of Mr. English (Thos. Barker)|Sun-Rise, -- a Cattle Piece The back ground of this picture represents the country as seen from the walls of Chester. The Cattle being the principal objects, they occupy, with Figures, the whole of the front ground. In the possession of Mr. English]] réalisée par Thos. Barker. [25]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[A Thunder-Storm on a Rocky Coast. "'Tis listening fear and dumb amazement all; When to the startled eye the sudden glance Appears far south, eruptive through the clouds; And following slower, in explosion vast, At first heard solemn o'er the verge of heaven, The tempest growls; but as it nearer comes, And rolls its awful burden on the winds, The lightnings flash a larger curve, and more The noise astounds." Thomson (Benj. Barker)|A Thunder-Storm on a Rocky Coast. "'Tis listening fear and dumb amazement all; When to the startled eye the sudden glance Appears far south, eruptive through the clouds; And following slower, in explosion vast, At first heard solemn o'er the verge of heaven, The tempest growls; but as it nearer comes, And rolls its awful burden on the winds, The lightnings flash a larger curve, and more The noise astounds." Thomson]] réalisée par Benj. Barker. [26]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Summer Evening. A Scene near a Mill, which is shown by a part of the water-wheel appearing on the left of the picture, immediately behind the figures; near to which, and on the fore-ground, are a Boy and Girl. The former is leaning on a piece of rock, with a whistle in his mouth: the girl is eating. On the right is a Willow Tree with a rocky eminence; at the base of which runs a clear stream (Thos. Barker)|Summer Evening. A Scene near a Mill, which is shown by a part of the water-wheel appearing on the left of the picture, immediately behind the figures; near to which, and on the fore-ground, are a Boy and Girl. The former is leaning on a piece of rock, with a whistle in his mouth: the girl is eating. On the right is a Willow Tree with a rocky eminence; at the base of which runs a clear stream]] réalisée par Thos. Barker. [39]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[An Italian Morning. A Scene from the Villa Aldobrandini, called Belvedere, commanding an expansive view of the Campagna di Roma. The middle ground is occupied by the village of Frescati with its majestic stone pines. On the left is a Fountain, from which Women are ascending with their water vessels. The fore-ground is enriched with Frescatan groups, &c. (Thos. Barker)|An Italian Morning. A Scene from the Villa Aldobrandini, called Belvedere, commanding an expansive view of the Campagna di Roma. The middle ground is occupied by the village of Frescati with its majestic stone pines. On the left is a Fountain, from which Women are ascending with their water vessels. The fore-ground is enriched with Frescatan groups, &c.]] réalisée par Thos. Barker. [40]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[A Mill Scene, with an Overshot Wheel. A Woodman seated on a bank, in conversation with a Miller, who is looking through a window of his mill. A Cottage Girl (we may suppose the woodman's daughter) stands behind him, with a jug of milk on her head. In the possession of Henry Weaver, esq. (Thos. Barker)|A Mill Scene, with an Overshot Wheel. A Woodman seated on a bank, in conversation with a Miller, who is looking through a window of his mill. A Cottage Girl (we may suppose the woodman's daughter) stands behind him, with a jug of milk on her head. In the possession of Henry Weaver, esq.]] réalisée par Thos. Barker. [42]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Welsh Cottage Girls, &c. A Girl, already seated on an Ass, is in the act of receiving a Boy from the arms of another girl. The Child, as if alarmed, draws back, whilst the former points to a supposed object out of the picture, to draw off his attention from the cause of his fear. The back ground, a woody Mountainous Glen, is characteristic of the scenery of Merionethshire. In the possession of Mr. Geary (Thos. Barker)|Welsh Cottage Girls, &c. A Girl, already seated on an Ass, is in the act of receiving a Boy from the arms of another girl. The Child, as if alarmed, draws back, whilst the former points to a supposed object out of the picture, to draw off his attention from the cause of his fear. The back ground, a woody Mountainous Glen, is characteristic of the scenery of Merionethshire. In the possession of Mr. Geary]] réalisée par Thos. Barker. [49]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Fording a Brook. A Girl with a Boy on her back is seen in profile, her head turned round towards the spectator, and also that of the Boy; she has already entered the stream, and is passing to the opposite side. Some Sheep are standing on the bank behind (Thos. Barker)|Fording a Brook. A Girl with a Boy on her back is seen in profile, her head turned round towards the spectator, and also that of the Boy; she has already entered the stream, and is passing to the opposite side. Some Sheep are standing on the bank behind]] réalisée par Thos. Barker. [58]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Gipsy Thief. A Gipsy who is supposed to have just come from plundering a farmer's poultry-yard, is hurrying on to join his gang, who are seen in a woody defile round their fire, preparing their mess. "I see a column of slow-rising smoke O'ertop the lofty wood that skirts the wild, A vagabond and useless tribe there eat Their miserable meal. A kettle slung Between two sticks upon a stick transverse Receives the morsel -- flesh obscene of dog Or vermin, or at least of cock purloin'd From his accustom'd perch. Hard-faring race! They pick their fuel out of ev'ry hedge, Which, kindled with dry leaves, just saves unquench'd The spark of life. The sporting winds blow wide Their fluttering rags, and show a tawny skin, The vellum of the pedigree they claim." Cowper (Thos. Barker)|The Gipsy Thief. A Gipsy who is supposed to have just come from plundering a farmer's poultry-yard, is hurrying on to join his gang, who are seen in a woody defile round their fire, preparing their mess. "I see a column of slow-rising smoke O'ertop the lofty wood that skirts the wild, A vagabond and useless tribe there eat Their miserable meal. A kettle slung Between two sticks upon a stick transverse Receives the morsel -- flesh obscene of dog Or vermin, or at least of cock purloin'd From his accustom'd perch. Hard-faring race! They pick their fuel out of ev'ry hedge, Which, kindled with dry leaves, just saves unquench'd The spark of life. The sporting winds blow wide Their fluttering rags, and show a tawny skin, The vellum of the pedigree they claim." Cowper]] réalisée par Thos. Barker. [67]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Forlorn Mother -- Winter. "How sinks her soul! What black despair, what horror fills her soul! When for the dusky spot, which fancy feigned Her peaceful dwelling, rising thro' the snow, She meets the roughness of the middle waste, Far from the track and blest abode of man; While round her night resistless closes fast, And every tempest, howling o'er her head, Renders the savage wilderness more wild." Thomson (Thos. Barker)|The Forlorn Mother -- Winter. "How sinks her soul! What black despair, what horror fills her soul! When for the dusky spot, which fancy feigned Her peaceful dwelling, rising thro' the snow, She meets the roughness of the middle waste, Far from the track and blest abode of man; While round her night resistless closes fast, And every tempest, howling o'er her head, Renders the savage wilderness more wild." Thomson]] réalisée par Thos. Barker. [69]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Mower -- Morning. A Mower is represented as resting for a while from his labour. He stands in a stubble field, which he has been cutting, with his jacket and wooden bottle beside him; in the middle gronnd are the figures of a Boy playing with a sheep dog, and of a Female carrying on her head a bundle of gleanings (Thos. Barker)|The Mower -- Morning. A Mower is represented as resting for a while from his labour. He stands in a stubble field, which he has been cutting, with his jacket and wooden bottle beside him; in the middle gronnd are the figures of a Boy playing with a sheep dog, and of a Female carrying on her head a bundle of gleanings]] réalisée par Thos. Barker. [72]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Fire-Light. Interior of the Temple of Venus, on the shore of Baiae, in Italy. Vesuvius is seen through an arch of the ruins. Lazzaroni round a fire in the front. The finished picture from this sketch (which was done in Italy) is in the possession of J. H. Smyth Pigott, esq. (Thos. Barker)|Fire-Light. Interior of the Temple of Venus, on the shore of Baiae, in Italy. Vesuvius is seen through an arch of the ruins. Lazzaroni round a fire in the front. The finished picture from this sketch (which was done in Italy) is in the possession of J. H. Smyth Pigott, esq.]] réalisée par Thos. Barker. [73]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Landscape, a Breezy Morning. An etensive distance in the centre of the picture, through which a navigable river is seen, with sails, &c. On the left of the fore-ground are masses of Wood and Rock intermingled, amongst which a clear stream glides, and ultimately falls over rocks, forming a larger expanse of water, in which Cattle are cooling themselves. Figures in conversation on the fore-ground (Benj. Barker)|Landscape, a Breezy Morning. An etensive distance in the centre of the picture, through which a navigable river is seen, with sails, &c. On the left of the fore-ground are masses of Wood and Rock intermingled, amongst which a clear stream glides, and ultimately falls over rocks, forming a larger expanse of water, in which Cattle are cooling themselves. Figures in conversation on the fore-ground]] réalisée par Benj. Barker. [75]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Dawn. A sheep pool forms the centre feature in this picture: on the margin of which, to the left, are some sheep penned preparatory to their being washed for shearing. The sentiment endeavoured to be conveyed in this landscape is that of repose. The Morning Star, which, at this early part of the day, appears peculiarly bright, and the total absence of man and his avocations, adds powerfully to this effect. "Fairest of stars, last in the train of night, If better thou belong not to the dawn, Sure pledge of day, that crown'd the smiling morn With thy bright circlet, praise him in thy sphere, While day arises, that sweet hour of prime." Milton (Thos. Barker)|The Dawn. A sheep pool forms the centre feature in this picture: on the margin of which, to the left, are some sheep penned preparatory to their being washed for shearing. The sentiment endeavoured to be conveyed in this landscape is that of repose. The Morning Star, which, at this early part of the day, appears peculiarly bright, and the total absence of man and his avocations, adds powerfully to this effect. "Fairest of stars, last in the train of night, If better thou belong not to the dawn, Sure pledge of day, that crown'd the smiling morn With thy bright circlet, praise him in thy sphere, While day arises, that sweet hour of prime." Milton]] réalisée par Thos. Barker. [82]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Cavalry Fight, Battle of Waterloo. The impetuous charge of the British Life-Guards on a column of Cuirassiers in the memorable Battle of Waterloo, and which had so large a share in deciding the fate of the day. The principal incident here represented, and which occupies the centre, is an attack and defence of a French standard: to the right of this group the Life-Guards, having broken in upon their line, are warmly engaged with their assailants; a massive body of the Life-Guards are advancing at full gallop up a rising ground to the charge. Still further off, and on more elevated ground, another body of British Cavalry are seen advancing, with their commander at their head. Above these, and at a greater distance, some squares of British Infantry are charged by a body of Polish Lancers, who are received with vollies of musketry. More towards the centre of the picture, the fire of Hougoumont is visible. On the left the contending columns are closely engaged: a conspicuous incident is introduced on the fore-ground, at the left hand corner: a Life-guardsman who had been unhorsed by a Cuirassier, is here represented in the act of seizing his opponent's horse, who is falling mortally wounded from his saddle. On a gentle elevation, above the horizontal line, the Observatory is distinguishable: and a little lower on the left, La Belle Alliance, where Wellington and Blucher met after the battle. Painted on a commission for J. H. Smyth Pigott, esq. (T. Barker)|Cavalry Fight, Battle of Waterloo. The impetuous charge of the British Life-Guards on a column of Cuirassiers in the memorable Battle of Waterloo, and which had so large a share in deciding the fate of the day. The principal incident here represented, and which occupies the centre, is an attack and defence of a French standard: to the right of this group the Life-Guards, having broken in upon their line, are warmly engaged with their assailants; a massive body of the Life-Guards are advancing at full gallop up a rising ground to the charge. Still further off, and on more elevated ground, another body of British Cavalry are seen advancing, with their commander at their head. Above these, and at a greater distance, some squares of British Infantry are charged by a body of Polish Lancers, who are received with vollies of musketry. More towards the centre of the picture, the fire of Hougoumont is visible. On the left the contending columns are closely engaged: a conspicuous incident is introduced on the fore-ground, at the left hand corner: a Life-guardsman who had been unhorsed by a Cuirassier, is here represented in the act of seizing his opponent's horse, who is falling mortally wounded from his saddle. On a gentle elevation, above the horizontal line, the Observatory is distinguishable: and a little lower on the left, La Belle Alliance, where Wellington and Blucher met after the battle. Painted on a commission for J. H. Smyth Pigott, esq.]] réalisée par T. Barker. [86]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Forum Romanum, vulgarly called the Campo Vaccino, from the beast market being held there. On the left of the fore-ground are the three majestic columns of the Temple of Jupiter Stator, whose capitals are the most beautiful in Rome; and beyond, in the middle distance, the Porta S. Sebastiano; and still a little further to the right, the Mausoleum of Cecilia Metella. On the right of the picture a part of the ruins of the Baths of Caracalla. The whole is enriched with figures and animals characteristic of the scene and country. Painted on a commission for Thos. Shew, esq. (Thos. Barker)|The Forum Romanum, vulgarly called the Campo Vaccino, from the beast market being held there. On the left of the fore-ground are the three majestic columns of the Temple of Jupiter Stator, whose capitals are the most beautiful in Rome; and beyond, in the middle distance, the Porta S. Sebastiano; and still a little further to the right, the Mausoleum of Cecilia Metella. On the right of the picture a part of the ruins of the Baths of Caracalla. The whole is enriched with figures and animals characteristic of the scene and country. Painted on a commission for Thos. Shew, esq.]] réalisée par Thos. Barker. [91]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[The Young Gypsy Fortune-teller. She is pointing to the palm of her hand, denoting thereby her skill in palmistry. An arch Urchin sits beside her. The back ground, composed of pollard willows, &c. conveys an idea of a secluded spot, such as these tribes most generally make choice of. In the possession of Henry Weaver, esq. (T. Barker)|The Young Gypsy Fortune-teller. She is pointing to the palm of her hand, denoting thereby her skill in palmistry. An arch Urchin sits beside her. The back ground, composed of pollard willows, &c. conveys an idea of a secluded spot, such as these tribes most generally make choice of. In the possession of Henry Weaver, esq.]] réalisée par T. Barker, vendue par Henry Weaver, esq.. [94]
  • 1827.-.-/ maison de ventes : Barker (Thomas). Vente de l'œuvre décrite comme [[Sun Set. The subject of this landscape is composed from scenery in the vicinity of Brockley-Coomb in Somersetshire. The Severn stretches horizontally across the picture, and is bounded by the Monmouth and Glamorganshire hills. "But see the setting sun Puts on a milder countenance, and skirts The undulated clouds, that cross his way, With glory visible: His axle cools, And his broad disk, though fervent, not intense, Foretells the near approach of matron night." Hurdis. Painted on a commission for John Hugh Smyth Pigott, esq. (Thos. Barker)|Sun Set. The subject of this landscape is composed from scenery in the vicinity of Brockley-Coomb in Somersetshire. The Severn stretches horizontally across the picture, and is bounded by the Monmouth and Glamorganshire hills. "But see the setting sun Puts on a milder countenance, and skirts The undulated clouds, that cross his way, With glory visible: His axle cools, And his broad disk, though fervent, not intense, Foretells the near approach of matron night." Hurdis. Painted on a commission for John Hugh Smyth Pigott, esq.]] réalisée par Thos. Barker. [96]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[Helena "It were all one That I should love a bright particular star, And think to wed it, he is so above me: In his bright radiance, and collateral light Must I be comforted, not in his sphere. Th' ambition in my love thus plagues itself: The hind that would be mated with the lion Must die for Love." Shakspeare's "All's well that ends well (W. Boxall)|Helena "It were all one That I should love a bright particular star, And think to wed it, he is so above me: In his bright radiance, and collateral light Must I be comforted, not in his sphere. Th' ambition in my love thus plagues itself: The hind that would be mated with the lion Must die for Love." Shakspeare's "All's well that ends well]] réalisée par W. Boxall. [104]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[Cain listening to the Curse of the Almighty against Murder. 4th Chap. Genesis, 10th, 11th, and 12th Verses. "And the Lord said, What hast thou done? The Voice of thy Brother's blood crieth unto me from the ground. And now art thou cursed from the earth, which bath opened her mouth to receive thy brother's blood from thy hand. When thou tillest the ground, it shall not henceforth yield unto thee her strength. A fugitive and a vagabond shalt thou be on the earth." (S.J. Stump)|Cain listening to the Curse of the Almighty against Murder. 4th Chap. Genesis, 10th, 11th, and 12th Verses. "And the Lord said, What hast thou done? The Voice of thy Brother's blood crieth unto me from the ground. And now art thou cursed from the earth, which bath opened her mouth to receive thy brother's blood from thy hand. When thou tillest the ground, it shall not henceforth yield unto thee her strength. A fugitive and a vagabond shalt thou be on the earth."]] réalisée par S.J. Stump. [107]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[The Battle of Trafalgar. The Victory, commanded by Lord Nelson, in steering to her destined position, had received the fire of eight or nine of the Enemy's Ships, and suffered greatly in the loss of officers and men, sails, and rigging. It had been Lord Nelson's wish to be laid alongside the Santissima Trinidada, the large Spanish Ship on the right, but a shot having cut asunder the tiller ropes of the Victory, she drifted on board the Redoubtable, the ship which is seen beyond her, and from which Lord Nelson was mortally wounded. In the distance is seen the Royal Sovereign, Vice Admiral Lord Collingwood, closely engaged with the Santa Anna, which ship struck after a conflict of nearly two hours (W. Daniell, R.A.)|The Battle of Trafalgar. The Victory, commanded by Lord Nelson, in steering to her destined position, had received the fire of eight or nine of the Enemy's Ships, and suffered greatly in the loss of officers and men, sails, and rigging. It had been Lord Nelson's wish to be laid alongside the Santissima Trinidada, the large Spanish Ship on the right, but a shot having cut asunder the tiller ropes of the Victory, she drifted on board the Redoubtable, the ship which is seen beyond her, and from which Lord Nelson was mortally wounded. In the distance is seen the Royal Sovereign, Vice Admiral Lord Collingwood, closely engaged with the Santa Anna, which ship struck after a conflict of nearly two hours]] réalisée par W. Daniell, R.A.. [116]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[Cape Wilberforce, looking into the Gulf of Carpentaria, from the Indian Ocean, Australia, discovered by the late Captain Flinders, in His Majesty's Ship Investigator. The rocks are a formation of sandstone with quartz cement, of a compact structure (Wm. Westall, A.R.A.)|Cape Wilberforce, looking into the Gulf of Carpentaria, from the Indian Ocean, Australia, discovered by the late Captain Flinders, in His Majesty's Ship Investigator. The rocks are a formation of sandstone with quartz cement, of a compact structure]] réalisée par Wm. Westall, A.R.A.. [119]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[Cardinal Wolsey at the Court of Francis the First, negociating the Meeting of that King with Henry the Eighth of England, at the Field of Cloth of Gold. "The Lord Cardinall as Ambassadour to the King rode with a noble repeire of Lordes, Gentlemen, and Prelates, to the Town of Ard, where he was of the French King highly entertained, with great thanks for that by his meanes he had joined in friendship with the King of England to his high contentation and pleasure, as having obtained the thing which he had so long desired. The noble port, sumptuous shew, and great traine of Gentlemen, Knights, Lordes, and number of servants in rich apparell, and sutes of liveries attendant on the Cardinall made the Frenchmen greatlie to wonder at his triumphant doeings. The King of England had given unto the said Cardinall full authoritie, power and libertie to affirm, and confirme, &c. &c. &c." Vide Hall and Holinshed's Chronicles (R.P. Bone)|Cardinal Wolsey at the Court of Francis the First, negociating the Meeting of that King with Henry the Eighth of England, at the Field of Cloth of Gold. "The Lord Cardinall as Ambassadour to the King rode with a noble repeire of Lordes, Gentlemen, and Prelates, to the Town of Ard, where he was of the French King highly entertained, with great thanks for that by his meanes he had joined in friendship with the King of England to his high contentation and pleasure, as having obtained the thing which he had so long desired. The noble port, sumptuous shew, and great traine of Gentlemen, Knights, Lordes, and number of servants in rich apparell, and sutes of liveries attendant on the Cardinall made the Frenchmen greatlie to wonder at his triumphant doeings. The King of England had given unto the said Cardinall full authoritie, power and libertie to affirm, and confirme, &c. &c. &c." Vide Hall and Holinshed's Chronicles]] réalisée par R.P. Bone. [127]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[The Mother and Child "Where art thou Boy? -- Heaven, heaven! the babe is playing Ev'n on the margin of the dizzy steep! Haste -- hush! a breath, my agony betraying, And he is gone! -- beneath him rolls the deep! Could I but keep the bursting cry suppress'd, And win him back in silence to my breast! Thou'rt safe! -- Thou com'st, with smiles my fond arms meeting, Blest, fearless child! -- I, I have tasted death! Nearer! that I may feel thy warm heart beating! And see thy bright hair floating in my breath! Nearer! to still my bosom's yearning pain, -- I clasp thee now, mine own! thou'rt here again! -- Mrs. Heman (W. Brackedon)|The Mother and Child "Where art thou Boy? -- Heaven, heaven! the babe is playing Ev'n on the margin of the dizzy steep! Haste -- hush! a breath, my agony betraying, And he is gone! -- beneath him rolls the deep! Could I but keep the bursting cry suppress'd, And win him back in silence to my breast! Thou'rt safe! -- Thou com'st, with smiles my fond arms meeting, Blest, fearless child! -- I, I have tasted death! Nearer! that I may feel thy warm heart beating! And see thy bright hair floating in my breath! Nearer! to still my bosom's yearning pain, -- I clasp thee now, mine own! thou'rt here again! -- Mrs. Heman]] réalisée par W. Brackedon. [131]
  • 1827.-.-/ maison de ventes : Hobday (William Armfield). Vente de l'œuvre décrite comme [[The Royal Academy. Containing Portraits of the whole of the Members in 1795. The subject is the President and Academicians in the Council Chamber, examining the Paintings, Models, Architecture and Drawings of the several Candidates for the Gold and Silver Medals (H. Singleton)|The Royal Academy. Containing Portraits of the whole of the Members in 1795. The subject is the President and Academicians in the Council Chamber, examining the Paintings, Models, Architecture and Drawings of the several Candidates for the Gold and Silver Medals]] réalisée par H. Singleton. [152]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A Lady, Time of James the First, in a rich ruff, chain of jewels suspended from her neck; in her hand is a feather fan on which is a coat of arms embossed on a steel handle, the colours are consequently not to be distinguished; it appears to be a cross between 4 pea-hens (artiste anonyme)|A Lady, Time of James the First, in a rich ruff, chain of jewels suspended from her neck; in her hand is a feather fan on which is a coat of arms embossed on a steel handle, the colours are consequently not to be distinguished; it appears to be a cross between 4 pea-hens]] réalisée par un.e artiste anonyme. [216]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A Lady, In high crowned hat, richly worked stomacher; on one hand a glove very beautifully worked with birds, &c., a rich lace ruff; in the right hand corner is a coat of arms, viz. Quarterly 1st and 4th, sable, on two bars argent 3 cinquefoils two and one, a crescent in chief. 2nd, or. a bend vaire argent and sable, cotized sable. 3rd, sable, three garden spades, argent two and one. On the ivory stick of a black feather fan are the initials F.S., and in the bottom corner an age and date, apparently 29, 1614. In the Great Alphabet of Arms, in the British Museum, the first and fourth Quarterings are precisely described as being the Coat of Foulkes, of London; the second is Bowyer; and the third is said to be Knippersley (F.S.)|A Lady, In high crowned hat, richly worked stomacher; on one hand a glove very beautifully worked with birds, &c., a rich lace ruff; in the right hand corner is a coat of arms, viz. Quarterly 1st and 4th, sable, on two bars argent 3 cinquefoils two and one, a crescent in chief. 2nd, or. a bend vaire argent and sable, cotized sable. 3rd, sable, three garden spades, argent two and one. On the ivory stick of a black feather fan are the initials F.S., and in the bottom corner an age and date, apparently 29, 1614. In the Great Alphabet of Arms, in the British Museum, the first and fourth Quarterings are precisely described as being the Coat of Foulkes, of London; the second is Bowyer; and the third is said to be Knippersley]] réalisée par F.S.. [217]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A Gentleman, in a Ruff, Aged 48, 1623, Holding a paper in his hand with engrossed writing on it, by the side of which is a motto, 'Pace Consilio;' over his head is a spear with this motto, 'Bellos Gladio;' in the corner is the following arms, viz., Quarterly 1st and 4th or. on a bend az. 3 martletts argent, in the sinister chief on a canton of the 2nd a rose of the 3rd. 2nd, checky or. & az. a fess gu. fretty argent. 3rd, argent 2 lions passant sable. (artiste anonyme)|A Gentleman, in a Ruff, Aged 48, 1623, Holding a paper in his hand with engrossed writing on it, by the side of which is a motto, 'Pace Consilio;' over his head is a spear with this motto, 'Bellos Gladio;' in the corner is the following arms, viz., Quarterly 1st and 4th or. on a bend az. 3 martletts argent, in the sinister chief on a canton of the 2nd a rose of the 3rd. 2nd, checky or. & az. a fess gu. fretty argent. 3rd, argent 2 lions passant sable.]] réalisée par un.e artiste anonyme. [219]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A Gentleman, in Black Dress, Temp. Philip and Mary. Gold chain about his neck, his ruff trimmed with black. Over his left shoulder 'Ætatis suæ 21,' and these armorial insignia: Argent, a cross flory, sable. Below an hour-glass, with the inscription 'Ut Vita sit Fugit Hora.' (artiste anonyme)|A Gentleman, in Black Dress, Temp. Philip and Mary. Gold chain about his neck, his ruff trimmed with black. Over his left shoulder 'Ætatis suæ 21,' and these armorial insignia: Argent, a cross flory, sable. Below an hour-glass, with the inscription 'Ut Vita sit Fugit Hora.']] réalisée par un.e artiste anonyme. [220]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same William the Third, King of England. Grand Gallery Picture, on Canvas, 4 feet 8 inches by 3 feet 10 inches. This picture was painted for one of the States of Holland, by De Heem, in his most elaborate manner. A lion crouching at the bottom, holds an orange in his paw; and on each side an eagle grasps a cornucopia, full of the richest fruits, flowers, insects, &c.; painted with the greatest truth to Nature, and in the most resplendent tone of colour. Motto, 'In taminatis fulget Honoribus.' Horat. In superbly gilt frame 84l. i.e., £84.0 (De Heem)|The Same William the Third, King of England. Grand Gallery Picture, on Canvas, 4 feet 8 inches by 3 feet 10 inches. This picture was painted for one of the States of Holland, by De Heem, in his most elaborate manner. A lion crouching at the bottom, holds an orange in his paw; and on each side an eagle grasps a cornucopia, full of the richest fruits, flowers, insects, &c.; painted with the greatest truth to Nature, and in the most resplendent tone of colour. Motto, 'In taminatis fulget Honoribus.' Horat. In superbly gilt frame 84l. i.e., £84.0]] réalisée par De Heem au prix de 84.0 £. [221]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Moore, Charles Lord Viscount -- Ob. 1658. On Canvas, 50 inches by 40. In his robes, coronet before him. In ancient carved frame 14l. 14s. i.e., £14.14 On the back was painted 'Rt. Hon. Charles Lord Moore, General of the King's Forces against the Rebels in Ireland, killed by a cannon ball, 1658.' (artiste anonyme)|Moore, Charles Lord Viscount -- Ob. 1658. On Canvas, 50 inches by 40. In his robes, coronet before him. In ancient carved frame 14l. 14s. i.e., £14.14 On the back was painted 'Rt. Hon. Charles Lord Moore, General of the King's Forces against the Rebels in Ireland, killed by a cannon ball, 1658.']] réalisée par un.e artiste anonyme au prix de 14.14 £. [229]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Marlborough, Sarah Jennings, Duchess of -- Kneller. On Canvas, 30 inches by 25. Flowing hair, fondling a spaniel usually denominated the 'Marlborough breed;' sitting at a table on which lays a ring 8l. 8s. i.e., £8.8 This picture, which is very freely painted at the best time of the life of the Duchess, will make an excellent companion to the one of the Duke mentioned at the bottom of page 33 (Kneller)|Marlborough, Sarah Jennings, Duchess of -- Kneller. On Canvas, 30 inches by 25. Flowing hair, fondling a spaniel usually denominated the 'Marlborough breed;' sitting at a table on which lays a ring 8l. 8s. i.e., £8.8 This picture, which is very freely painted at the best time of the life of the Duchess, will make an excellent companion to the one of the Duke mentioned at the bottom of page 33]] réalisée par Kneller au prix de 8.8 £. [230]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[George the Second, When Prince of Wales. Kneller. On Canvas, 7 feet by 4 1/2. Whole length, in his robes, hat and feathers on the table before him. At the lower corner is inscribed 'The Gift of Sir John Eyles, Bart. and Alderman of London, 1718,' to the Haberdashers' Company 15l. i.e., £15.0 (Kneller)|George the Second, When Prince of Wales. Kneller. On Canvas, 7 feet by 4 1/2. Whole length, in his robes, hat and feathers on the table before him. At the lower corner is inscribed 'The Gift of Sir John Eyles, Bart. and Alderman of London, 1718,' to the Haberdashers' Company 15l. i.e., £15.0]] réalisée par Kneller au prix de 15.0 £. [232]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gay, John -- Author of Beggars' Opera, Ob. Dec. 1732. Hogarth. On Canvas, 30 inches by 24. A profile, in crimson morning gown and cap, with a circle of bays; date on the picture Ang. 1732. In carved frame 21l. i.e., £21.0 This fine specimen of the Master was formerly exhibited in the Gothic Hall, Pall Mall, and has been engraved (Hogarth)|Gay, John -- Author of Beggars' Opera, Ob. Dec. 1732. Hogarth. On Canvas, 30 inches by 24. A profile, in crimson morning gown and cap, with a circle of bays; date on the picture Ang. 1732. In carved frame 21l. i.e., £21.0 This fine specimen of the Master was formerly exhibited in the Gothic Hall, Pall Mall, and has been engraved]] réalisée par Hogarth au prix de 21.0 £. [233]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Davis, Mary -- Actress, and Mistress of Charles II. Lely. On Canvas, 48 inches by 38. Seated with lilies in her lap, looking at one she holds in her right hand; and excellent copy from the original picture of Sir Peter Lely, by Mary Beale: it has been engraved by Thompson 8l. 8s. i.e., £8.8 (Mary Beale)|Davis, Mary -- Actress, and Mistress of Charles II. Lely. On Canvas, 48 inches by 38. Seated with lilies in her lap, looking at one she holds in her right hand; and excellent copy from the original picture of Sir Peter Lely, by Mary Beale: it has been engraved by Thompson 8l. 8s. i.e., £8.8]] réalisée par Mary Beale au prix de 8.8 £. [239]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Churchill, Mary -- Duchess of Montagu. D'Agar. On Canvas, 50 inches by 40. Sitting at a table, on which is a spaniel in playful attitude 7l. 7s. i.e., £7.7 This Lady, Pope's 'Angel Goddess Montagu,' youngest daughter of John Duke of Marlborough, married John Duke of Montagu, 1705, and was one of the Ladies of the Bedchamber to Queen Caroline: she died, according to Noble, in 1751, who relates, that in consequence of her demise £2000 per annum devolved on Charles Spencer, Duke of Marlborough, her nephew: her town and country residence, with an immense sum of money, went to the Countess of Cardigan. Her sons died when young, but Isabella married William, Duke of Manchester; and Mary, George Earl of Cardigan (D'Agar)|Churchill, Mary -- Duchess of Montagu. D'Agar. On Canvas, 50 inches by 40. Sitting at a table, on which is a spaniel in playful attitude 7l. 7s. i.e., £7.7 This Lady, Pope's 'Angel Goddess Montagu,' youngest daughter of John Duke of Marlborough, married John Duke of Montagu, 1705, and was one of the Ladies of the Bedchamber to Queen Caroline: she died, according to Noble, in 1751, who relates, that in consequence of her demise £2000 per annum devolved on Charles Spencer, Duke of Marlborough, her nephew: her town and country residence, with an immense sum of money, went to the Countess of Cardigan. Her sons died when young, but Isabella married William, Duke of Manchester; and Mary, George Earl of Cardigan]] réalisée par D'Agar au prix de 7.7 £. [241]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Charles the Second of Spain, when Young. Careno. On Canvas, 6 feet by 4. Whole length, in black costume, standing in a drawing room hung with pictures, which are reflected by a glass before him; his slouched hat resting on a marble slab supported by a lion, &c. An interesting picture, and a fine specimen of the art 12l. 12s. i.e., £12.12 (Careno)|Charles the Second of Spain, when Young. Careno. On Canvas, 6 feet by 4. Whole length, in black costume, standing in a drawing room hung with pictures, which are reflected by a glass before him; his slouched hat resting on a marble slab supported by a lion, &c. An interesting picture, and a fine specimen of the art 12l. 12s. i.e., £12.12]] réalisée par Careno au prix de 12.12 £. [242]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Charles the First, King of England, A Curious Allegory. On Canvas, 44 inches by 36. Representing a Miniature of Charles the First resting against the Bible, which has a label, 'Memento esse Mortalem,' attached to it; a book opened, on which is inscribed 'Sic Transit Gloria Mundi' -- Memento Mortem Beatus Dici protesti. A Portrait of Julius Caesar, the sword of state, a globe, the regalia in a casket, &c. compose the other parts of the picture 4l. 4s. i.e., £4.4 (artiste anonyme)|The Same Charles the First, King of England, A Curious Allegory. On Canvas, 44 inches by 36. Representing a Miniature of Charles the First resting against the Bible, which has a label, 'Memento esse Mortalem,' attached to it; a book opened, on which is inscribed 'Sic Transit Gloria Mundi' -- Memento Mortem Beatus Dici protesti. A Portrait of Julius Caesar, the sword of state, a globe, the regalia in a casket, &c. compose the other parts of the picture 4l. 4s. i.e., £4.4]] réalisée par un.e artiste anonyme au prix de 4.4 £. [243]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Augusta, Princess of Wales -- Mother Of King Goerge III. On Canvas, 9 feet by 4 feet. Whole length, In white satin dress, lined with ermine, coronet on her head 15l. 15s. i.e., £15.15 Many of the whole lengths described in this Catalogue were the decorations of Haberdashers' Hall, near Hoxton; and purchased on its recent demolition. The present was 'The Gift of Sir Joseph Hankey, Knt. Alderman, 1737.' (artiste anonyme)|Augusta, Princess of Wales -- Mother Of King Goerge III. On Canvas, 9 feet by 4 feet. Whole length, In white satin dress, lined with ermine, coronet on her head 15l. 15s. i.e., £15.15 Many of the whole lengths described in this Catalogue were the decorations of Haberdashers' Hall, near Hoxton; and purchased on its recent demolition. The present was 'The Gift of Sir Joseph Hankey, Knt. Alderman, 1737.']] réalisée par un.e artiste anonyme au prix de 15.15 £. [246]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Zulestein, William Henry -- of Nassau, Earl of Rochford. Dupuis. On Canvas, 34 inches by 28. In a laced coat, black handkerchief, &c. Houston's mezzotinto portrait is from this picture 5l. 5s. i.e., £5.5 He was son of Frederick, Earl of Rochford, and in 1738, was appointed Lord of the Bedchamber, and constituted Vice Admiral of the Coasts of Essex. In 1749 he was sent Envoy-extraordinary and Plenipotentiary to the King of Sardinia, and on his return from Turin, appointed Groom of the Stole and First Lord of the Bedchamber. His Lordship married Lucy, daughter of Edward Younge, of Durnford, in Wiltshire, one of the Maids of Honour to her Royal Highness the Princess of Wales (Dupuis)|Zulestein, William Henry -- of Nassau, Earl of Rochford. Dupuis. On Canvas, 34 inches by 28. In a laced coat, black handkerchief, &c. Houston's mezzotinto portrait is from this picture 5l. 5s. i.e., £5.5 He was son of Frederick, Earl of Rochford, and in 1738, was appointed Lord of the Bedchamber, and constituted Vice Admiral of the Coasts of Essex. In 1749 he was sent Envoy-extraordinary and Plenipotentiary to the King of Sardinia, and on his return from Turin, appointed Groom of the Stole and First Lord of the Bedchamber. His Lordship married Lucy, daughter of Edward Younge, of Durnford, in Wiltshire, one of the Maids of Honour to her Royal Highness the Princess of Wales]] réalisée par Dupuis au prix de 5.5 £. [248]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Wilson, Thomas -- D.D. And Mrs. Macauley. Wright of Derby. On Canvas, 50 inches by 40. In a clerical dress, sitting at a table with Mrs. Macauley, their hands pointing to a passage in a book lettered 'Macauley's History' 10l. 10s. i.e., £10.10 Dr. Wilson was son of Thomas Wilson, Lord Bishop of Sodor and Man; born 1703; was Rector of St. Stephen's, Walbrook, forty-six years. He edited 'The Ornaments of churches considered,' in 4to; and published a pamphlet entitled 'Distilled Liquors the Bane of the Nation.' He died 1784. His warm patronage of Mrs. Macauley, to whom, while living, he erected a statue in his church, is well known. There is an engraved portrait of Dr. Wilson, with the omission of Mrs. Macauley, from this picture, which was formerly in the possession of the late Dr. Wright, of Lichfield (Wright of Derby)|Wilson, Thomas -- D.D. And Mrs. Macauley. Wright of Derby. On Canvas, 50 inches by 40. In a clerical dress, sitting at a table with Mrs. Macauley, their hands pointing to a passage in a book lettered 'Macauley's History' 10l. 10s. i.e., £10.10 Dr. Wilson was son of Thomas Wilson, Lord Bishop of Sodor and Man; born 1703; was Rector of St. Stephen's, Walbrook, forty-six years. He edited 'The Ornaments of churches considered,' in 4to; and published a pamphlet entitled 'Distilled Liquors the Bane of the Nation.' He died 1784. His warm patronage of Mrs. Macauley, to whom, while living, he erected a statue in his church, is well known. There is an engraved portrait of Dr. Wilson, with the omission of Mrs. Macauley, from this picture, which was formerly in the possession of the late Dr. Wright, of Lichfield]] réalisée par Wright of Derby au prix de 10.10 £. [251]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same William the Third, King of England -- with His Consort Mary II. Wyck. On Canvas, 30 inches by 21. A peculiarly interesting pair of equestrian portraits. William is in a suit of black armour, a plume of feathers of three colours in his helmet. In the distance, ships at sea, colours flying, &c. Mary mounted on a beautiful white charger, crowned, landscape, with army in the distance. Both are in richly carved arch frames, in full gold 21 l. i.e., £21.0 (Wyck)|The Same William the Third, King of England -- with His Consort Mary II. Wyck. On Canvas, 30 inches by 21. A peculiarly interesting pair of equestrian portraits. William is in a suit of black armour, a plume of feathers of three colours in his helmet. In the distance, ships at sea, colours flying, &c. Mary mounted on a beautiful white charger, crowned, landscape, with army in the distance. Both are in richly carved arch frames, in full gold 21 l. i.e., £21.0]] réalisée par Wyck au prix de 21.0 £. [255]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Warham, William Of -- Archbishop of Canterbury, 1532. On Canvas, 30 inches by 24. This picture represents him as preaching from the pulpit, his crosier and mitre by him 8l. 8s. i.e., £8.8 A curious contemporary picture, and formerly in the Collection of the late Dr. Wright of Lichfield (artiste anonyme)|Warham, William Of -- Archbishop of Canterbury, 1532. On Canvas, 30 inches by 24. This picture represents him as preaching from the pulpit, his crosier and mitre by him 8l. 8s. i.e., £8.8 A curious contemporary picture, and formerly in the Collection of the late Dr. Wright of Lichfield]] réalisée par un.e artiste anonyme au prix de 8.8 £. [262]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Trevor, Thomas -- Lord Chief Justice, C.P. Created Lord Trevor, of Bromham, 31 Dec. 1711; President of the Privy Council, 1730. Ob. 19 June, 1730. Kneller. On Canvas, 50 inches by 40; finely painted: in excellent carved frame 15l. 15s. i.e., £15.15 (Kneller)|Trevor, Thomas -- Lord Chief Justice, C.P. Created Lord Trevor, of Bromham, 31 Dec. 1711; President of the Privy Council, 1730. Ob. 19 June, 1730. Kneller. On Canvas, 50 inches by 40; finely painted: in excellent carved frame 15l. 15s. i.e., £15.15]] réalisée par Kneller au prix de 15.15 £. [268]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Strafford, Thomas Wentworth, Earl of -- Lord Lieutenant of Ireland, temp. Charles I. Beheaded 12 May, 1641. Vandyck. Spirited sketch on Canvas, 24 inches by 18: in armour, holding a batôn in his right hand, his left resting on a helmet. In newly gilt carved frame 12l. 12s. i.e., £12.12 (Vandyck)|Strafford, Thomas Wentworth, Earl of -- Lord Lieutenant of Ireland, temp. Charles I. Beheaded 12 May, 1641. Vandyck. Spirited sketch on Canvas, 24 inches by 18: in armour, holding a batôn in his right hand, his left resting on a helmet. In newly gilt carved frame 12l. 12s. i.e., £12.12]] réalisée par Vandyck au prix de 12.12 £. [273]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Stoughton, Sir Nicholas -- of Stoughton, Surry, Bart. Walker. On Canvas, 50 inches by 40: in a Civilian's dress, sitting at a table on which are laying some papers, one directed to him; a curtain and library in the back-ground. Finely painted 12l. 12s. i.e., £12.12 Sir Nicholas was son of Anthony Stoughton; was entered Gentleman Commoner of Exeter College, in Oxford, July 1653, and admitted to the degree of Bachelor of Laws, 12th March, 1656-7. On the 18th of May, 1659, he proceeded Doctor, having obtained a letter to the University for that purpose from Richard Cromwell, their Chancellor, dispensing with the residue of his terms; and was created a Baronet, Jan. 29, 1660-1. On the 2d of June, 1662, he married Elizabeth, daughter of Sir Henry Massingberd; and in 1663 was made Sheriff of Surry. He died 30th June, 1686, leaving nine children, and was buried in the parish church of Stoke (Walker)|Stoughton, Sir Nicholas -- of Stoughton, Surry, Bart. Walker. On Canvas, 50 inches by 40: in a Civilian's dress, sitting at a table on which are laying some papers, one directed to him; a curtain and library in the back-ground. Finely painted 12l. 12s. i.e., £12.12 Sir Nicholas was son of Anthony Stoughton; was entered Gentleman Commoner of Exeter College, in Oxford, July 1653, and admitted to the degree of Bachelor of Laws, 12th March, 1656-7. On the 18th of May, 1659, he proceeded Doctor, having obtained a letter to the University for that purpose from Richard Cromwell, their Chancellor, dispensing with the residue of his terms; and was created a Baronet, Jan. 29, 1660-1. On the 2d of June, 1662, he married Elizabeth, daughter of Sir Henry Massingberd; and in 1663 was made Sheriff of Surry. He died 30th June, 1686, leaving nine children, and was buried in the parish church of Stoke]] réalisée par Walker au prix de 12.12 £. [274]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Soame, Sir Stephen -- Lord Mayor of London. In the right hand corner 'Ano. 1619, Æ. suæ 79.' This picture represents him at a more advanced age than the preceding 4l. 4s. i.e. £4.4 Sir Stephen Soame was Sheriff of London in 1589, and Lord Mayor in 1593. He was the founder of the family of Soame, in Thurlow, Suffolk: he endowed a school at Thurlow, out of the Manor of Carleton; and is said, in Wotton's English Baronets, 1727, 12mo, vol. ii, p. 616, to have 'died at Thurlow, May 23, 1619, aged seventy-five.' The last noticed picture, which is in perfect condition, states his age in that year to have been seventy-nine (artiste anonyme)|The Same Soame, Sir Stephen -- Lord Mayor of London. In the right hand corner 'Ano. 1619, Æ. suæ 79.' This picture represents him at a more advanced age than the preceding 4l. 4s. i.e. £4.4 Sir Stephen Soame was Sheriff of London in 1589, and Lord Mayor in 1593. He was the founder of the family of Soame, in Thurlow, Suffolk: he endowed a school at Thurlow, out of the Manor of Carleton; and is said, in Wotton's English Baronets, 1727, 12mo, vol. ii, p. 616, to have 'died at Thurlow, May 23, 1619, aged seventy-five.' The last noticed picture, which is in perfect condition, states his age in that year to have been seventy-nine]] réalisée par un.e artiste anonyme au prix de 4.4 £. [277]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sidney, Sir Philip -- Literati And Warrior, Ob. 1586. On Panel, oval, 9 inches by 7: in white costume. The picture is placed within a black square spandril, on which 'Sir Philip Sidney' is inscribed; and the whole within a newly gilt frame 4l. 10s. i.e, £4.10 (artiste anonyme)|Sidney, Sir Philip -- Literati And Warrior, Ob. 1586. On Panel, oval, 9 inches by 7: in white costume. The picture is placed within a black square spandril, on which 'Sir Philip Sidney' is inscribed; and the whole within a newly gilt frame 4l. 10s. i.e, £4.10]] réalisée par un.e artiste anonyme au prix de 4.10 £. [281]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Shelly, Lady -- Wife of Sir John Shelly, Bart. On Canvas, 50 inches by 40. Seated on a bank, trees in the distance The Pair, 18l. 18s. i.e. £18.18 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire (artiste anonyme)|Shelly, Lady -- Wife of Sir John Shelly, Bart. On Canvas, 50 inches by 40. Seated on a bank, trees in the distance The Pair, 18l. 18s. i.e. £18.18 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme au prix de 18.18 £. [282]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Shelly, Sir John, Bart. -- of Michel Grove, Sussex. On Canvas, 50 inches by 40: in red hunting costume, wig and band, his hand resting on a dog. View of Michel Grove in the distance The Pair, 18l. 18s. i.e., £18.18 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire. (artiste anonyme)|Shelly, Sir John, Bart. -- of Michel Grove, Sussex. On Canvas, 50 inches by 40: in red hunting costume, wig and band, his hand resting on a dog. View of Michel Grove in the distance The Pair, 18l. 18s. i.e., £18.18 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire.]] réalisée par un.e artiste anonyme au prix de 18.18 £. [283]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Lady Mary -- Wife of Sir Samuel Tuke, Bart. Lely. On Canvas, 50 inches by 40. Richly attired, placing flowers into a vase. Finely painted in the manner of Lely, if really not painted by him 7l. 7s. i.e., £7.7 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire (Lely)|Sheldon, Lady Mary -- Wife of Sir Samuel Tuke, Bart. Lely. On Canvas, 50 inches by 40. Richly attired, placing flowers into a vase. Finely painted in the manner of Lely, if really not painted by him 7l. 7s. i.e., £7.7 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire]] réalisée par Lely au prix de 7.7 £. [284]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon. On Panel, 28 inches by 22. Portrait of a Divine, in a black scull-cap, edged with lace; long beard, and ruff. Holding in his right hand a book, his finger placed about midway within the leaves. Arms above the right shoulder: sable, a fess inter three sheldrakes or. Over the arms: 'Anno Domini 1635, ætatis suæ 72.' Below the arms: UNI VIROS UNA BEANS. De me quod nonit potuit bené reddere pictor At mea sunt uni pectora, nota Deo. In good condition 5l. 5s. i.e., £5.5 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire. (artiste anonyme)|Sheldon. On Panel, 28 inches by 22. Portrait of a Divine, in a black scull-cap, edged with lace; long beard, and ruff. Holding in his right hand a book, his finger placed about midway within the leaves. Arms above the right shoulder: sable, a fess inter three sheldrakes or. Over the arms: 'Anno Domini 1635, ætatis suæ 72.' Below the arms: UNI VIROS UNA BEANS. De me quod nonit potuit bené reddere pictor At mea sunt uni pectora, nota Deo. In good condition 5l. 5s. i.e., £5.5 The three preceding portraits were part of a series of the Sheldon Family, recently purchased from the ancient family mansion at Weston, Long-Compton, Warwickshire.]] réalisée par un.e artiste anonyme au prix de 5.5 £. [285]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Shakespeare, William -- 'England's Dramatic Bard.' Ob. 1616. On Canvas, 16 inches by 12. Copy from the celebrated Chandos picture, engraved by Vertue in his set of English Poets: the mask and dagger at Bottom. Possibly painted so early as 1700 5l. 5s. i.e. £5.5 (artiste anonyme)|Shakespeare, William -- 'England's Dramatic Bard.' Ob. 1616. On Canvas, 16 inches by 12. Copy from the celebrated Chandos picture, engraved by Vertue in his set of English Poets: the mask and dagger at Bottom. Possibly painted so early as 1700 5l. 5s. i.e. £5.5]] réalisée par un.e artiste anonyme au prix de 5.5 £. [286]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sedley, Catherine -- Countess of Dorchester. Kneller. On Canvas, 50 inches by 40: in crimson costume, leaning against a pedestal. Very similar to the engraving by Smith 8l. 8s. i.e. £8.8 Catherine, daughter of the above, was first married to James, Earl of Anglesea, by whom he had an only daughter of her name, born January 7, 1700, who, in 1718, was married to William Phipps, Esq. son of Sir Constantine Phipps, Knt., and secondly to John Sheffield, Duke of Buckingham and Normanby (Kneller)|Sedley, Catherine -- Countess of Dorchester. Kneller. On Canvas, 50 inches by 40: in crimson costume, leaning against a pedestal. Very similar to the engraving by Smith 8l. 8s. i.e. £8.8 Catherine, daughter of the above, was first married to James, Earl of Anglesea, by whom he had an only daughter of her name, born January 7, 1700, who, in 1718, was married to William Phipps, Esq. son of Sir Constantine Phipps, Knt., and secondly to John Sheffield, Duke of Buckingham and Normanby]] réalisée par Kneller au prix de 8.8 £. [288]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Scott, Bartholomew, Esq. -- of Peckham, Surry. On Panel, 40 inches by 30. The portrait of this gentleman, who was Lord of the Manors of Peckham and Camberwell, is nearly down to the knees: in black costume, his hand resting on a table. The arms of Scott, quartering those of Bockwell, Skynner, and others, are in the corner 8l. 8s. i.e., £8.8 He was the son of John Scott, by Elizabeth, daughter of William Robins, merchant of staple, at Calais; became possessed of large property is Camberwell, Peckham, East Dulwich, Carshalton, &c.; and died without issue in 1601, having had three wives: 1, Margaret Whitchurch, Nov. 29, 1564, the widow of Abp. Cranmer; 2, Christian, Widow of -- Laud, buried July 20, 1597; 3, Margaret, widow of William Gardyner, Esq. (artiste anonyme)|Scott, Bartholomew, Esq. -- of Peckham, Surry. On Panel, 40 inches by 30. The portrait of this gentleman, who was Lord of the Manors of Peckham and Camberwell, is nearly down to the knees: in black costume, his hand resting on a table. The arms of Scott, quartering those of Bockwell, Skynner, and others, are in the corner 8l. 8s. i.e., £8.8 He was the son of John Scott, by Elizabeth, daughter of William Robins, merchant of staple, at Calais; became possessed of large property is Camberwell, Peckham, East Dulwich, Carshalton, &c.; and died without issue in 1601, having had three wives: 1, Margaret Whitchurch, Nov. 29, 1564, the widow of Abp. Cranmer; 2, Christian, Widow of -- Laud, buried July 20, 1597; 3, Margaret, widow of William Gardyner, Esq.]] réalisée par un.e artiste anonyme au prix de 8.8 £. [289]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rycaut, Sir Paul -- Ambassador to the Ottoman Empire, and Continuator of Knolles' History of the Turks. Rundt, 1691. On Canvas, 49 inches by 37, nearly down to the knees, in a brown coat and black embroidered waistcoat, long wig and band, hat and gloves in his hands; in the background are trees, and a column on which is inscribed 'Sir Paul Rycaut, Rundt fecit, 1691.' 8l. 8s. i.e., £8.8 Paul Rycaut was an eminent English traveller. In 1661, he was appointed Secretary to the Earl of Winchelsea, who was sent Ambassador extraordinary to the Ottoman Porte. During his continuance in that station he wrote the 'Present State of the Ottoman Empire.' He afterwards resided eleven years as Consul at Smyrna, where, in 1678, at the command of Charles the Second, he composed the 'Present State of the Greek and Arminian Churches.' On his return, Lord Clarendon being appointed Lord Lieutenant of Ireland, made him his principal Secretary for Leinster and Connaught. King James the Second knighted him, made him one of the Privy Council in Ireland, and Judge of the Court of Admiralty; all which he held till the revolution. He was employed by William the Third as Resident at the Hanse Towns, in Lower Saxony; but, worn out with age and infirmities, he desired and obtained leave to return, and died in the year 1700. From the Collection of the late Richard Owen Cambridge, Esq. at Twickenham (Rundt, 1691)|Rycaut, Sir Paul -- Ambassador to the Ottoman Empire, and Continuator of Knolles' History of the Turks. Rundt, 1691. On Canvas, 49 inches by 37, nearly down to the knees, in a brown coat and black embroidered waistcoat, long wig and band, hat and gloves in his hands; in the background are trees, and a column on which is inscribed 'Sir Paul Rycaut, Rundt fecit, 1691.' 8l. 8s. i.e., £8.8 Paul Rycaut was an eminent English traveller. In 1661, he was appointed Secretary to the Earl of Winchelsea, who was sent Ambassador extraordinary to the Ottoman Porte. During his continuance in that station he wrote the 'Present State of the Ottoman Empire.' He afterwards resided eleven years as Consul at Smyrna, where, in 1678, at the command of Charles the Second, he composed the 'Present State of the Greek and Arminian Churches.' On his return, Lord Clarendon being appointed Lord Lieutenant of Ireland, made him his principal Secretary for Leinster and Connaught. King James the Second knighted him, made him one of the Privy Council in Ireland, and Judge of the Court of Admiralty; all which he held till the revolution. He was employed by William the Third as Resident at the Hanse Towns, in Lower Saxony; but, worn out with age and infirmities, he desired and obtained leave to return, and died in the year 1700. From the Collection of the late Richard Owen Cambridge, Esq. at Twickenham]] réalisée par Rundt, 1691 au prix de 8.8 £. [291]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Ruthven, Patrick -- Earl of Brentford, Ob. 1651. Jamieson. Whole length, on Canvas, 78 inches by 54. This portrait represents him in armour, holding a batôn; his helmet, richly plumed, on a table: finely painted 21l. i.e., £21.0 This nobleman was a royalist, and served as General in the cause of Charles the First (Jamieson)|Ruthven, Patrick -- Earl of Brentford, Ob. 1651. Jamieson. Whole length, on Canvas, 78 inches by 54. This portrait represents him in armour, holding a batôn; his helmet, richly plumed, on a table: finely painted 21l. i.e., £21.0 This nobleman was a royalist, and served as General in the cause of Charles the First]] réalisée par Jamieson au prix de 21.0 £. [292]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Russell, William -- Fifth Earl and First Duke of Bedford. Kneller. Whole length, on Canvas, 8 feet by 5. Habited in his robes as knight of the garter: hat and feathers on a table. A fine gallery picture, in gilt frame 42l. i.e., £42.0 Kneller's name is on this painting, which represents his Grace at a later period of life than the print by Williams, after Luttrell. The preample of his patent, set forth by William and Mary, who awarded him a ducal coronet, recites, 'that it was not the least, that he was the father to the Lord Russell, the ornament of his age, whose great merits 'twas not enough to transmit by history to posterity; but they were willing to record them in their royal patent, to remain in the family as a monument consecrated to his consummate virtue; whose name could never be forgot, so long as men preserved their esteem for sanctity of manners, greatness of mind, and a love to their country constant even to death. Therefore, to solace his excellent father for so great a loss, to celebrate the memory of so noble a son, and to excite his worthy grandson, the heir of such mighty hopes, more cheerfully to emulate and follow the example of his illustrious father, they intailed this high dignity upon the Earl and his posterity.' He died 1700. æt. 84 (Kneller)|Russell, William -- Fifth Earl and First Duke of Bedford. Kneller. Whole length, on Canvas, 8 feet by 5. Habited in his robes as knight of the garter: hat and feathers on a table. A fine gallery picture, in gilt frame 42l. i.e., £42.0 Kneller's name is on this painting, which represents his Grace at a later period of life than the print by Williams, after Luttrell. The preample of his patent, set forth by William and Mary, who awarded him a ducal coronet, recites, 'that it was not the least, that he was the father to the Lord Russell, the ornament of his age, whose great merits 'twas not enough to transmit by history to posterity; but they were willing to record them in their royal patent, to remain in the family as a monument consecrated to his consummate virtue; whose name could never be forgot, so long as men preserved their esteem for sanctity of manners, greatness of mind, and a love to their country constant even to death. Therefore, to solace his excellent father for so great a loss, to celebrate the memory of so noble a son, and to excite his worthy grandson, the heir of such mighty hopes, more cheerfully to emulate and follow the example of his illustrious father, they intailed this high dignity upon the Earl and his posterity.' He died 1700. æt. 84]] réalisée par Kneller au prix de 42.0 £. [293]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rizzio -- Presumed Portrait of David Rizzio. On Panel, 18 inches by 15. He is represented with a harp, and on the frame, evidently coeval with the picture, is inscribed 'POVR ELLE J'ENDVRE CRVELEMENT:' the remainder is illegible. Painted in the style of Lucas de Heere 7l. 7s. i.e., £7.7 The conjecture arises from the great similarity of features of the person here painted with the accredited portrait of Rizzio, formerly in the Collection of the late Henry Constantine Jennings, engraved by Wilkin; with the circumstance of the extraordinary appropriateness of the motto. The armorial insignia in the corner are, vert three pea-hens or impaling azure, a lion rampant or (Lucas de Heere)|Rizzio -- Presumed Portrait of David Rizzio. On Panel, 18 inches by 15. He is represented with a harp, and on the frame, evidently coeval with the picture, is inscribed 'POVR ELLE J'ENDVRE CRVELEMENT:' the remainder is illegible. Painted in the style of Lucas de Heere 7l. 7s. i.e., £7.7 The conjecture arises from the great similarity of features of the person here painted with the accredited portrait of Rizzio, formerly in the Collection of the late Henry Constantine Jennings, engraved by Wilkin; with the circumstance of the extraordinary appropriateness of the motto. The armorial insignia in the corner are, vert three pea-hens or impaling azure, a lion rampant or]] réalisée par Lucas de Heere au prix de 7.7 £. [294]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rich, Edward -- Earl of Warwick and Holland, Ob. 1701. Wissing. On Canvas, 50 inches by 40. Painted in early life, seated on a bank, with greyhound, &c. in a newly gilt carved frame 14l. 14s. i.e., £14.14 The rare engraving by Smith, 1684, is from this picture (Wissing)|Rich, Edward -- Earl of Warwick and Holland, Ob. 1701. Wissing. On Canvas, 50 inches by 40. Painted in early life, seated on a bank, with greyhound, &c. in a newly gilt carved frame 14l. 14s. i.e., £14.14 The rare engraving by Smith, 1684, is from this picture]] réalisée par Wissing au prix de 14.14 £. [295]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Reisen, Charles Christian -- Seal Engraver. Vanderbanc, 1722. On Canvas, 36 inches by 28. The original picture from which the print by George White was engraved, and which till recently was in the possession of the late Mr. -- Grignion, Watch-maker, of Russell Street, Covent Garden 4l. 4s. i.e., £4.4 He was the son of Christian Reisen, Seal Engraver, a native of Drontheim, in Norway; was born in the parish of St. Clement's, Danes, but resided many years in Covent Garden, then the principal seat of ingenuity and art, carying on the same profession as his father, in which he rose to great eminence: he had also a small house at Putney, a view of which, intended as a satire upon him, was engraved by George Vertue, but without his name, and published under the fantastic title of Bears-den Hall. He was appointed director of the Academy under Sir Godfrey Kneller, and displayed his taste by forming a collection of medals, prints, drawings, and books. He died Dec. 16, 1725, and was buried in the cemetry of St. Paul's, Covent Garden (Vanderbanc)|Reisen, Charles Christian -- Seal Engraver. Vanderbanc, 1722. On Canvas, 36 inches by 28. The original picture from which the print by George White was engraved, and which till recently was in the possession of the late Mr. -- Grignion, Watch-maker, of Russell Street, Covent Garden 4l. 4s. i.e., £4.4 He was the son of Christian Reisen, Seal Engraver, a native of Drontheim, in Norway; was born in the parish of St. Clement's, Danes, but resided many years in Covent Garden, then the principal seat of ingenuity and art, carying on the same profession as his father, in which he rose to great eminence: he had also a small house at Putney, a view of which, intended as a satire upon him, was engraved by George Vertue, but without his name, and published under the fantastic title of Bears-den Hall. He was appointed director of the Academy under Sir Godfrey Kneller, and displayed his taste by forming a collection of medals, prints, drawings, and books. He died Dec. 16, 1725, and was buried in the cemetry of St. Paul's, Covent Garden]] réalisée par Vanderbanc au prix de 4.4 £. [298]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Reformers. Curious painting of Wicliff, Luther, Calvin, Huss, Jerome of Prague, and others of the Reformers, seated at a table, on which is a lighted candle, symbolical of the light the reformation conferred, and which the Devil, aided by the Pope and his emissaries, are vainly attempting to blow out. There are several engravings from this picture, one of which is prefixed to an octavo volume, about 1680. It is painted on Canvas, oblong, 50 inches by 40: in gilt carved frame, in fine condition 21l. i.e., £21.0 (artiste anonyme)|Reformers. Curious painting of Wicliff, Luther, Calvin, Huss, Jerome of Prague, and others of the Reformers, seated at a table, on which is a lighted candle, symbolical of the light the reformation conferred, and which the Devil, aided by the Pope and his emissaries, are vainly attempting to blow out. There are several engravings from this picture, one of which is prefixed to an octavo volume, about 1680. It is painted on Canvas, oblong, 50 inches by 40: in gilt carved frame, in fine condition 21l. i.e., £21.0]] réalisée par un.e artiste anonyme au prix de 21.0 £. [299]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rainsford, Sir Richard -- Lord Chief Justice, K.B. Ob. 1678. On Canvas, 30 inches by 24. In his scarlet and furred judge's gown. The engraved portrait in 'Harding's Biographical Mirror,' 4to, from a picture in the possession of -- Rainsford, Esq., a descendant, is like the present, exactly, which is finely painted, and was recently purchased on the dispersion of Sir William Temple's Collection, at Farnham, Surry 5l. 5s. i.e., £5.5 (artiste anonyme)|Rainsford, Sir Richard -- Lord Chief Justice, K.B. Ob. 1678. On Canvas, 30 inches by 24. In his scarlet and furred judge's gown. The engraved portrait in 'Harding's Biographical Mirror,' 4to, from a picture in the possession of -- Rainsford, Esq., a descendant, is like the present, exactly, which is finely painted, and was recently purchased on the dispersion of Sir William Temple's Collection, at Farnham, Surry 5l. 5s. i.e., £5.5]] réalisée par un.e artiste anonyme au prix de 5.5 £. [300]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Radnor, John Robartes, Earl of -- Ob. 1685. Kneller. On Canvas, 30 inches by 24. Habited in his ermine robes 6l. 6s. i.e., £6.6 John Robartes, son and heir of Sir Richard Robartes, Bart. created Lord Robartes, of Truro, in Cornwall, by James the First. He was entered a fellow commoner of Exeter College, Oxford, in 1625, where he continued two years, and then succeeded to this father's honours. He was created Viscount Bodmins in 1679, and Earl of Radnor in the same year: he was made President of the Council upon the removal of Anthony, Earl of Shaftesbury. By his first wife, Lucy, daughter of Robert, Earl of Warwick, he had Robert, his heir apparent; and by his second, Isabella, daughter of Sir John Smith, Knt. he had another son, named Francis, and four daughters: 1, Isabella, married to Lord Moor, eldest son of Lord Drogheda, in Ireland; 2, Araminta; 3, Olimpia; and 4, Essex. Francis married Anne, the widow of Hugh Boscawen, of Tregothian, in Cornwall, and daughter of Wentworth Fitzgerald, Earl of Kildare. Lord Clarendon agrees with Bp. Burnet in pronouncing him a man of a sour and morose nature, a great opiniatre, and one who was to be overcome before he would believe that he could be so. He died July 17, 1685 (Kneller)|Radnor, John Robartes, Earl of -- Ob. 1685. Kneller. On Canvas, 30 inches by 24. Habited in his ermine robes 6l. 6s. i.e., £6.6 John Robartes, son and heir of Sir Richard Robartes, Bart. created Lord Robartes, of Truro, in Cornwall, by James the First. He was entered a fellow commoner of Exeter College, Oxford, in 1625, where he continued two years, and then succeeded to this father's honours. He was created Viscount Bodmins in 1679, and Earl of Radnor in the same year: he was made President of the Council upon the removal of Anthony, Earl of Shaftesbury. By his first wife, Lucy, daughter of Robert, Earl of Warwick, he had Robert, his heir apparent; and by his second, Isabella, daughter of Sir John Smith, Knt. he had another son, named Francis, and four daughters: 1, Isabella, married to Lord Moor, eldest son of Lord Drogheda, in Ireland; 2, Araminta; 3, Olimpia; and 4, Essex. Francis married Anne, the widow of Hugh Boscawen, of Tregothian, in Cornwall, and daughter of Wentworth Fitzgerald, Earl of Kildare. Lord Clarendon agrees with Bp. Burnet in pronouncing him a man of a sour and morose nature, a great opiniatre, and one who was to be overcome before he would believe that he could be so. He died July 17, 1685]] réalisée par Kneller au prix de 6.6 £. [301]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Radcliffe, John -- M.D., Founder of Radcliffe Library, Oxford. On Canvas, 30 inches by 24. Seated at a table, on which lies a letter addressed to 'Dr. Radcliffe.' Books on shelves in the back-ground. There is an engraving from this picture 6l. 6s. i.e., £6.6 (artiste anonyme)|Radcliffe, John -- M.D., Founder of Radcliffe Library, Oxford. On Canvas, 30 inches by 24. Seated at a table, on which lies a letter addressed to 'Dr. Radcliffe.' Books on shelves in the back-ground. There is an engraving from this picture 6l. 6s. i.e., £6.6]] réalisée par un.e artiste anonyme au prix de 6.6 £. [302]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Percy, Algernon -- Earl of Northumberland, And Family. Old Stone. On Canvas, oblong 5 1/2 feet by 4. This picture, which is exceedingly well painted, represents the Earl resting by his hand on a sofa, on which the Countess is seated, with roses in her lap, a child by her side 26l. 5s. i.e., £26.5 Algernon Percy, born in 1602; was the third son of Henry, the ninth Earl of his family, by Dorothy, daughter of Walter Devereux, Earl of Essex, and widow of Sir Thomas Perrott. On the 13th of May, 1635, he was installed a Knight of the Garter; and in the succeeding year, appointed to command the largest fleet that had put to sea since the death of Queen Elizabeth; and on the 13th of March, 1637, he was raised to the office of Lord High Admiral of England. He married, first, Anne, daughter of William Cecil, Earl of Salisbury, by whom he had five daughters; Catherine, Lucy, Dorothy, who died young; Anne, married to Philip Lord Stanhope, who became, after her death, Earl of Chesterfield; and Elizabeth, married to Arthur Lord Capel, afterwards created Earl of Essex. Secondly, Elizabeth, daughter of Theophilus Howard, Earl of Suffolk, by whom he had an only son, Josceline, who succeeded him, and one daughter, Elizabeth, who died an infant. He died on the 13th of October, 1668, and was buried at Petworth, in Sussex (Old Stone)|Percy, Algernon -- Earl of Northumberland, And Family. Old Stone. On Canvas, oblong 5 1/2 feet by 4. This picture, which is exceedingly well painted, represents the Earl resting by his hand on a sofa, on which the Countess is seated, with roses in her lap, a child by her side 26l. 5s. i.e., £26.5 Algernon Percy, born in 1602; was the third son of Henry, the ninth Earl of his family, by Dorothy, daughter of Walter Devereux, Earl of Essex, and widow of Sir Thomas Perrott. On the 13th of May, 1635, he was installed a Knight of the Garter; and in the succeeding year, appointed to command the largest fleet that had put to sea since the death of Queen Elizabeth; and on the 13th of March, 1637, he was raised to the office of Lord High Admiral of England. He married, first, Anne, daughter of William Cecil, Earl of Salisbury, by whom he had five daughters; Catherine, Lucy, Dorothy, who died young; Anne, married to Philip Lord Stanhope, who became, after her death, Earl of Chesterfield; and Elizabeth, married to Arthur Lord Capel, afterwards created Earl of Essex. Secondly, Elizabeth, daughter of Theophilus Howard, Earl of Suffolk, by whom he had an only son, Josceline, who succeeded him, and one daughter, Elizabeth, who died an infant. He died on the 13th of October, 1668, and was buried at Petworth, in Sussex]] réalisée par Old Stone au prix de 26.5 £. [307]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Parr, Thomas -- The Old, Old, very Old Man. On Canvas, 50 inches by 40. With a long beard, in a brown dress, supported by a stick. This picture has been engraved 5l. 5s. i.e., £5.5 Thomas Parr, whom Taylor the water-poet in his usual quaint manner styles 'the Old, Old, very Old Man,' was born in 1483, at Winnington, in the parish of Alderbury, Shropshire. He married Catherine Milton, his second wife, when he was in his one hundred and twenty-second year; and worked as a thresher and husbandman long after that period. Thomas Howard, Earl of Arundel, struck by the novelty of his age, and the circumstance of his having lived in the reigns of ten sovereigns, brought him to London and introduced him at Court, in his one hundred and fifty-second year. He died in 1635. (artiste anonyme)|Parr, Thomas -- The Old, Old, very Old Man. On Canvas, 50 inches by 40. With a long beard, in a brown dress, supported by a stick. This picture has been engraved 5l. 5s. i.e., £5.5 Thomas Parr, whom Taylor the water-poet in his usual quaint manner styles 'the Old, Old, very Old Man,' was born in 1483, at Winnington, in the parish of Alderbury, Shropshire. He married Catherine Milton, his second wife, when he was in his one hundred and twenty-second year; and worked as a thresher and husbandman long after that period. Thomas Howard, Earl of Arundel, struck by the novelty of his age, and the circumstance of his having lived in the reigns of ten sovereigns, brought him to London and introduced him at Court, in his one hundred and fifty-second year. He died in 1635.]] réalisée par un.e artiste anonyme au prix de 5.5 £. [310]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Paget, William Lord -- Lord Privy Seal, 1556, 2 Mary I. On Panel, 24 inches by 18. In a furred gown, the George pendant from his neck, in richly carved frame, newly gilt 26l. 5s. i.e., £26.5 This picture, finely painted in Holbien's manner, differs from the Marquis of Anglesea's portrait, engraved in Lodge: this holding the staff as Lord Treasurer, -- that in Lodge, the hand is resting on a walking-stick (Holbein)|Paget, William Lord -- Lord Privy Seal, 1556, 2 Mary I. On Panel, 24 inches by 18. In a furred gown, the George pendant from his neck, in richly carved frame, newly gilt 26l. 5s. i.e., £26.5 This picture, finely painted in Holbien's manner, differs from the Marquis of Anglesea's portrait, engraved in Lodge: this holding the staff as Lord Treasurer, -- that in Lodge, the hand is resting on a walking-stick]] réalisée par Holbein au prix de 26.5 £. [311]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Ormond, Lady Mary Somerset, Duchess of. On Canvas, 20 inches by 13. A small and excellent copy of the picture by Sir Godfrey Kneller, at Hampton Court, in which she is attended by her negro servant. In carved gilt frame 6l. 6s. i.e., £6.6 (Sir Godfrey Kneller)|Ormond, Lady Mary Somerset, Duchess of. On Canvas, 20 inches by 13. A small and excellent copy of the picture by Sir Godfrey Kneller, at Hampton Court, in which she is attended by her negro servant. In carved gilt frame 6l. 6s. i.e., £6.6]] réalisée par Sir Godfrey Kneller au prix de 6.6 £. [313]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Nugent, Robert -- Lord Nugent, M.P. for Bristol. Sir Joshua Reynolds. On Canvas, 30 inches by 25. Copy of the fine original picture painted when Lord Clare; seated at a table, holding in his hand an act of Parliament relative to corn and flour 6l. 6s. i.e., £6.6 (Sir Joshua Reynolds)|Nugent, Robert -- Lord Nugent, M.P. for Bristol. Sir Joshua Reynolds. On Canvas, 30 inches by 25. Copy of the fine original picture painted when Lord Clare; seated at a table, holding in his hand an act of Parliament relative to corn and flour 6l. 6s. i.e., £6.6]] réalisée par Sir Joshua Reynolds au prix de 6.6 £. [315]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Noel, Baptist -- And Penelope Noel, 1679. Netscher. On Canvas, 18 inches by 14. These pictures are portraits of two of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who performed eminent services for King Charles I. Baptist Noel is represented in rich crimson Roman costume. Both pictures were inscribed with the date '1679,' and the female, described as 'The Ladye Penelope Noel,' is pourtrayed seated on a bank, holding flowers. Finely painted. In appropriately French carved frames, newly gilt 12l. 12s. i.e., £12.12 (Netscher)|Noel, Baptist -- And Penelope Noel, 1679. Netscher. On Canvas, 18 inches by 14. These pictures are portraits of two of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who performed eminent services for King Charles I. Baptist Noel is represented in rich crimson Roman costume. Both pictures were inscribed with the date '1679,' and the female, described as 'The Ladye Penelope Noel,' is pourtrayed seated on a bank, holding flowers. Finely painted. In appropriately French carved frames, newly gilt 12l. 12s. i.e., £12.12]] réalisée par Netscher au prix de 12.12 £. [316]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Newsham, Charles, Esq. of Chadshunt, Warwickshire. On Canvas, 35 inches by 31. This gentleman, who is painted in white costume, with open collar, cloak thrown over his shoulders, married Elizabeth, daughter of John Hide, Esq. of East Greenwich, and died in 1705. His arms are painted in the corner of the picture 5l. 5s. i.e., £5.5 (artiste anonyme)|Newsham, Charles, Esq. of Chadshunt, Warwickshire. On Canvas, 35 inches by 31. This gentleman, who is painted in white costume, with open collar, cloak thrown over his shoulders, married Elizabeth, daughter of John Hide, Esq. of East Greenwich, and died in 1705. His arms are painted in the corner of the picture 5l. 5s. i.e., £5.5]] réalisée par un.e artiste anonyme au prix de 5.5 £. [317]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Montgomery, Anne Townsend, Marchioness of Sir Joshua Reynolds. On Canvas, 30 inches by 25. This freely sketched picture from the original, in Vandyke Brown, and from which the mezzotinto by Thomas Watson is taken, represents her ladyship, with her sisters Mrs. Beresford and Mrs. Gardiner, as nymphs decorating the statue of Hymen 5l. 5s. i.e., £5.5 (Sir Joshua Reynolds)|Montgomery, Anne Townsend, Marchioness of Sir Joshua Reynolds. On Canvas, 30 inches by 25. This freely sketched picture from the original, in Vandyke Brown, and from which the mezzotinto by Thomas Watson is taken, represents her ladyship, with her sisters Mrs. Beresford and Mrs. Gardiner, as nymphs decorating the statue of Hymen 5l. 5s. i.e., £5.5]] réalisée par Sir Joshua Reynolds au prix de 5.5 £. [319]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Monk, George -- Duke of Albemarle, Ob. 1670. On Canvas, 48 inches by 38. This interesting picture represents the restorer of the Stuarts; in armour, nearly down to the knees; resting on a batôn: the George pendant from his neck, and red sash upon his arm. Ship on fire in the distance 7l. 7s. i.e, £7.7 This was one of the many fine portraits which formed the Collection of the celebrated Sir William Temple, at Farnham, Surrey (artiste anonyme)|Monk, George -- Duke of Albemarle, Ob. 1670. On Canvas, 48 inches by 38. This interesting picture represents the restorer of the Stuarts; in armour, nearly down to the knees; resting on a batôn: the George pendant from his neck, and red sash upon his arm. Ship on fire in the distance 7l. 7s. i.e, £7.7 This was one of the many fine portraits which formed the Collection of the celebrated Sir William Temple, at Farnham, Surrey]] réalisée par un.e artiste anonyme au prix de 7.7 £. [323]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[May, Baptist -- Keeper of Privy Purse to King Charles II. On Canvas, 50 inches by 40. Half length, resting his hand on his sword; trees in the distance 8l. 8s. i.e., £8.8 This portrait of 'Mr. Baptist May,' as painted on the picture, is unquestionably genuine. It was formerly in the possession of the celebrated Sir William Temple. May died in 1696 (artiste anonyme)|May, Baptist -- Keeper of Privy Purse to King Charles II. On Canvas, 50 inches by 40. Half length, resting his hand on his sword; trees in the distance 8l. 8s. i.e., £8.8 This portrait of 'Mr. Baptist May,' as painted on the picture, is unquestionably genuine. It was formerly in the possession of the celebrated Sir William Temple. May died in 1696]] réalisée par un.e artiste anonyme au prix de 8.8 £. [326]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Mary of Modena, Consort of King James II. Sir Peter Lely. On Canvas, 7 feet 4 inches by 4 feet 4 inches. Whole length, size of life, resting her arm upon a pedestal, on which is the crown, her fingers gracefully turning aside her long flowing hair; a very pleasing and interesting gallery picture 26l. 5s. i.e., £26.5 (Sir Peter Lely)|Mary of Modena, Consort of King James II. Sir Peter Lely. On Canvas, 7 feet 4 inches by 4 feet 4 inches. Whole length, size of life, resting her arm upon a pedestal, on which is the crown, her fingers gracefully turning aside her long flowing hair; a very pleasing and interesting gallery picture 26l. 5s. i.e., £26.5]] réalisée par Sir Peter Lely au prix de 26.5 £. [327]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Manchester, Charles Montague, Duke of -- Ob. 1722. On Canvas, 30 inches by 24, long wig, cloak, &c. in the manner of Kneller 5l. 5s. i.e., £5.5 Son of Robert Earl of Manchester, by Anne, daughter of Sir Christopher Yelverton, of Easton Manduit, in Northamptonshire, Bart.; created Duke of Manchester by George the First, 1719. His Grace married Dodington, the youngest of the two daughters and coheirs of Robert Greville, Lord Brooke, by whom he had William and Robert, Dukes of Manchester, the Ladies Anne, Dodington, Elizabeth; and Charlotte, who married Pattée, Viscount Torrington (Kneller)|Manchester, Charles Montague, Duke of -- Ob. 1722. On Canvas, 30 inches by 24, long wig, cloak, &c. in the manner of Kneller 5l. 5s. i.e., £5.5 Son of Robert Earl of Manchester, by Anne, daughter of Sir Christopher Yelverton, of Easton Manduit, in Northamptonshire, Bart.; created Duke of Manchester by George the First, 1719. His Grace married Dodington, the youngest of the two daughters and coheirs of Robert Greville, Lord Brooke, by whom he had William and Robert, Dukes of Manchester, the Ladies Anne, Dodington, Elizabeth; and Charlotte, who married Pattée, Viscount Torrington]] réalisée par Kneller au prix de 5.5 £. [334]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lovat, Simon Fraser, Lord -- Executed on Tower Hill, 1746. Hogarth. On Deal Board, 30 inches by 25. 63l. i.e., £63.0 This portrait, perhaps the most interesting in the Collection, has more than ordinary claims to particular notice. To the present time, none of Hogarth's biographers appear to have been aware of the 'local habitation' of the original painting from which the artist published his etching, the popularity of which, at the period to which it alludes, was so great, that a printseller is said to have offered for it its weight in gold: that offer the artist rejected; and he is said to have received from its sale, for many weeks, at the rate of £12 each day. The impressions could not be taken off so fast as they were wanted, though the rolling-press was at work all night by the week together. Hogarth said himself, that Lord Lovat's portrait was taken at the White Hart Inn, at St. Albans, in the attitude of relating on his fingers the numbers of the rebel forces: 'Such a general had so many men, &c.;' and remarked that the muscles of Lovat's neck appeared of unusual strength, more so than he had ever seen. Samuel Ireland, in his Graphic Illustrations of Hogarth, vol. i, p. 146, states that Hogarth was invited to St. Albans for the express purpose of being introduced to Lovat, who was then resting at the White Hart Inn, on his way to London from Scotland, by Dr. Webster, a physician residing at St. Albans, and well known to Boswell, Johnson, and other eminent literary characters of that period. Hogarth had never seen Lovat before, and was, through the Doctor's introduction, received with much cordiality, even to the kiss fraternal, which was then certainly not very pleasant, as his lordship, being under the barber's hands, left in the salute much of the lather on the artist's face. Lord Lovat rested two or three days at St. Albans, and was under the immediate care of Doctor Webster, who thought his patient's illness was feigned with his usual cunning, or if at all real, arose principally from his apprehension of danger on reaching London. The short stay of Lovat at St. Albans, allowed the artist but scanty opportunity of providing the materials for a complete picture; hence some carpenter was employed on the instant to glue together some deal board, and plane down one side, which is evident from the back being in the usual rough state in which the plank leaves the saw-pit. The painting, from the thinness of the priming-ground, bears evident proof of the haste with which the portrait was accomplished. The course lineament of features so strongly exhibited in his countenance, is admirably hit off, so well has Duncombe expressed it, 'Lovat's hard features Hogarth might command;' for his pencil was peculiarly adapted to such representation. It is observable the button-holes of the coat, &c., are reversed in the artist's etching, which was professed to be 'drawn from the life, &c.;' and in the upper corner of the picture are satirical heraldic insignia, allusive to the artist's idea of his future destiny, and which have not hitherto been made public (Hogarth)|Lovat, Simon Fraser, Lord -- Executed on Tower Hill, 1746. Hogarth. On Deal Board, 30 inches by 25. 63l. i.e., £63.0 This portrait, perhaps the most interesting in the Collection, has more than ordinary claims to particular notice. To the present time, none of Hogarth's biographers appear to have been aware of the 'local habitation' of the original painting from which the artist published his etching, the popularity of which, at the period to which it alludes, was so great, that a printseller is said to have offered for it its weight in gold: that offer the artist rejected; and he is said to have received from its sale, for many weeks, at the rate of £12 each day. The impressions could not be taken off so fast as they were wanted, though the rolling-press was at work all night by the week together. Hogarth said himself, that Lord Lovat's portrait was taken at the White Hart Inn, at St. Albans, in the attitude of relating on his fingers the numbers of the rebel forces: 'Such a general had so many men, &c.;' and remarked that the muscles of Lovat's neck appeared of unusual strength, more so than he had ever seen. Samuel Ireland, in his Graphic Illustrations of Hogarth, vol. i, p. 146, states that Hogarth was invited to St. Albans for the express purpose of being introduced to Lovat, who was then resting at the White Hart Inn, on his way to London from Scotland, by Dr. Webster, a physician residing at St. Albans, and well known to Boswell, Johnson, and other eminent literary characters of that period. Hogarth had never seen Lovat before, and was, through the Doctor's introduction, received with much cordiality, even to the kiss fraternal, which was then certainly not very pleasant, as his lordship, being under the barber's hands, left in the salute much of the lather on the artist's face. Lord Lovat rested two or three days at St. Albans, and was under the immediate care of Doctor Webster, who thought his patient's illness was feigned with his usual cunning, or if at all real, arose principally from his apprehension of danger on reaching London. The short stay of Lovat at St. Albans, allowed the artist but scanty opportunity of providing the materials for a complete picture; hence some carpenter was employed on the instant to glue together some deal board, and plane down one side, which is evident from the back being in the usual rough state in which the plank leaves the saw-pit. The painting, from the thinness of the priming-ground, bears evident proof of the haste with which the portrait was accomplished. The course lineament of features so strongly exhibited in his countenance, is admirably hit off, so well has Duncombe expressed it, 'Lovat's hard features Hogarth might command;' for his pencil was peculiarly adapted to such representation. It is observable the button-holes of the coat, &c., are reversed in the artist's etching, which was professed to be 'drawn from the life, &c.;' and in the upper corner of the picture are satirical heraldic insignia, allusive to the artist's idea of his future destiny, and which have not hitherto been made public]] réalisée par Hogarth au prix de 63.0 £. [336]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lovelace, Colonel Richard -- Poet. On Canvas, 30 inches by 24, in armour, red sash; very similar to the picture at Dulwich College 5l. 5s. i.e., £5.5 Richard, eldest son of William Lovelace, of Bethersden, in Kent, Knt., by Anne, daughter of Sir William Barne, of Woolwich, in the same county, was born in 1618, educated at the Charterhouse, from whence he was removed to Oxford, and became a Gentleman Commoner of Gloucester Hall. He spent a great part of his estate in the cause of Charles the First; and dying very poor in 1658, was buried in St. Bride's Church, Fleet Street (artiste anonyme)|Lovelace, Colonel Richard -- Poet. On Canvas, 30 inches by 24, in armour, red sash; very similar to the picture at Dulwich College 5l. 5s. i.e., £5.5 Richard, eldest son of William Lovelace, of Bethersden, in Kent, Knt., by Anne, daughter of Sir William Barne, of Woolwich, in the same county, was born in 1618, educated at the Charterhouse, from whence he was removed to Oxford, and became a Gentleman Commoner of Gloucester Hall. He spent a great part of his estate in the cause of Charles the First; and dying very poor in 1658, was buried in St. Bride's Church, Fleet Street]] réalisée par un.e artiste anonyme au prix de 5.5 £. [337]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Locke, John -- Philosopher, Ob. 1704. Kneller. Canvas, 24 inches by 20. Copy of the well-known portrait of this celebrated philosopher, by Kneller, engraved by Vertue, Smith, and others 2l. 2s. i.e., £2.2 John Locke, the most celebrated philosopher of the age in which he lived, was born at Wrington, in Somersetshire, in 1632. By the patronage of Lord Shaftesbury he held a situation under Government, and wrote with much power some political tracts. Locke followed the fortunes of his patron on his flying to Holland to avoid a prosecution for high treason. In 1685, the English Envoy demanded him of the States General, on suspicion of his being concerned in Monmouth's rebellion. On this he kept himself private several months, and employed the time in preparing for the press that work which has immortalized his name, the 'Essay on the Human Understanding:' it was not published until after the revolution, an event which restored him to his native country. The latter years of his life he devoted to religious retirement, and to the writing of works on theology; and died at Oates, in Essex, the seat of Lady Marsham, Oct. 28, 1704 (Kneller)|Locke, John -- Philosopher, Ob. 1704. Kneller. Canvas, 24 inches by 20. Copy of the well-known portrait of this celebrated philosopher, by Kneller, engraved by Vertue, Smith, and others 2l. 2s. i.e., £2.2 John Locke, the most celebrated philosopher of the age in which he lived, was born at Wrington, in Somersetshire, in 1632. By the patronage of Lord Shaftesbury he held a situation under Government, and wrote with much power some political tracts. Locke followed the fortunes of his patron on his flying to Holland to avoid a prosecution for high treason. In 1685, the English Envoy demanded him of the States General, on suspicion of his being concerned in Monmouth's rebellion. On this he kept himself private several months, and employed the time in preparing for the press that work which has immortalized his name, the 'Essay on the Human Understanding:' it was not published until after the revolution, an event which restored him to his native country. The latter years of his life he devoted to religious retirement, and to the writing of works on theology; and died at Oates, in Essex, the seat of Lady Marsham, Oct. 28, 1704]] réalisée par Kneller au prix de 2.2 £. [338]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lenox, Charles -- Duke of Richmond. On Canvas, 50 inches by 40. In red coat, star and garter, with arms painted on the back-ground. In gilt carved open-work frame 14l. 14s. i.e., £14.14 Recently the property of the Rev. -- Chatfield, of Balcomb, Sussex (artiste anonyme)|Lenox, Charles -- Duke of Richmond. On Canvas, 50 inches by 40. In red coat, star and garter, with arms painted on the back-ground. In gilt carved open-work frame 14l. 14s. i.e., £14.14 Recently the property of the Rev. -- Chatfield, of Balcomb, Sussex]] réalisée par un.e artiste anonyme au prix de 14.14 £. [340]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Leicester, Robert Dudley, Earl of -- Favorite of Queen Elizabeth. Zucchero. Panel, 35 inches by 28; in a black cloak, trimmed with fur, a white satin waistcoat, collar of the order of the garter, hat and jewel, &c. 18l. i.e., £18.0 A very interesting portrait, and, except in the ornaments of the waistcoat, precisely like the picture of this Earl in the possession of the Marquis of Salisbury, at Hatfield (Zucchero)|Leicester, Robert Dudley, Earl of -- Favorite of Queen Elizabeth. Zucchero. Panel, 35 inches by 28; in a black cloak, trimmed with fur, a white satin waistcoat, collar of the order of the garter, hat and jewel, &c. 18l. i.e., £18.0 A very interesting portrait, and, except in the ornaments of the waistcoat, precisely like the picture of this Earl in the possession of the Marquis of Salisbury, at Hatfield]] réalisée par Zucchero au prix de 18.0 £. [341]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Langwith, Benjamin -- D.D., Rector Of Buckhurst, Sussex. 'H. Winstanley, pinxt. 1731.' On Canvas, 30 inches by 24 3l. 3s. i.e., £3.3 Dr. Langwith was author of 'Observations on, and Corrections to, Dr. Arbuthnot's Tables of Ancient Coins, Weights, and Measures, 1747.' 4to, afterwards republished with the subsequent edition of Arbuthnot, 1754, 4to (H. Winstanley)|Langwith, Benjamin -- D.D., Rector Of Buckhurst, Sussex. 'H. Winstanley, pinxt. 1731.' On Canvas, 30 inches by 24 3l. 3s. i.e., £3.3 Dr. Langwith was author of 'Observations on, and Corrections to, Dr. Arbuthnot's Tables of Ancient Coins, Weights, and Measures, 1747.' 4to, afterwards republished with the subsequent edition of Arbuthnot, 1754, 4to]] réalisée par H. Winstanley au prix de 3.3 £. [345]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Keppel, George -- Earl of Albemarle, Ob. 1772. On Canvas, 30 inches by 24. The engraved portrait by Fisher is taken from this picture 5l. 5s. i.e., £5.5 Son of William, the second Earl, by his first wife, Anne Lenox, daughter of the Duke of Richmond; was born April 8, 1724, and married, April 20, 1770, Anne, daughter of Sir John Miller, Bart., by whom he had one son, who succeeded him in his title. His Lordship died Oct. 1772 (artiste anonyme)|Keppel, George -- Earl of Albemarle, Ob. 1772. On Canvas, 30 inches by 24. The engraved portrait by Fisher is taken from this picture 5l. 5s. i.e., £5.5 Son of William, the second Earl, by his first wife, Anne Lenox, daughter of the Duke of Richmond; was born April 8, 1724, and married, April 20, 1770, Anne, daughter of Sir John Miller, Bart., by whom he had one son, who succeeded him in his title. His Lordship died Oct. 1772]] réalisée par un.e artiste anonyme au prix de 5.5 £. [348]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same James I, King of England, and Sixth of Scotland -- with Anne of Denmark. On Canvas, oblong, 32 inches by 22. These interesting portraits represent them in black dresses, ruffs, &c. (mourning for Prince Henry), much in Jansen's manner, and corresponding with the rare engravings by Wierix 8l. 8s. i.e., £8.8 (Jansen)|The Same James I, King of England, and Sixth of Scotland -- with Anne of Denmark. On Canvas, oblong, 32 inches by 22. These interesting portraits represent them in black dresses, ruffs, &c. (mourning for Prince Henry), much in Jansen's manner, and corresponding with the rare engravings by Wierix 8l. 8s. i.e., £8.8]] réalisée par Jansen au prix de 8.8 £. [354]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[James I, King of England, and Sixth of Scotland. Mytens. Grand Gallery Picture. On Canvas, 8 feet by 5 1/2 feet. Mounted on a grey dappled charger, his hat decorated by a jewel, his batôn in his right hand. Eton, with the bridge, and Windsor Castle shewn in the distance. Boats sailing on the river; a carriage and six, with outriders and an escort of horse, are seen near the banks. The frame, which is of superb dimension, has been newly re-gilt 125l. i.e., £125.0 (Mytens)|James I, King of England, and Sixth of Scotland. Mytens. Grand Gallery Picture. On Canvas, 8 feet by 5 1/2 feet. Mounted on a grey dappled charger, his hat decorated by a jewel, his batôn in his right hand. Eton, with the bridge, and Windsor Castle shewn in the distance. Boats sailing on the river; a carriage and six, with outriders and an escort of horse, are seen near the banks. The frame, which is of superb dimension, has been newly re-gilt 125l. i.e., £125.0]] réalisée par Mytens au prix de 125.0 £. [356]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Isham, Sir Eusebius -- and Lady Isham. On Canvas, 32 inches by 26. Sir Eusebius is habited in a black dress, ruff, and gold chain. On the picture is inscribed 'Eusebius Isham, Miles, Año Dni. 1585, ætat. suæ 33.' Lady Isham is a companion picture, and both are in excellent condition 12l. 12s. i.e., £12.12 (artiste anonyme)|Isham, Sir Eusebius -- and Lady Isham. On Canvas, 32 inches by 26. Sir Eusebius is habited in a black dress, ruff, and gold chain. On the picture is inscribed 'Eusebius Isham, Miles, Año Dni. 1585, ætat. suæ 33.' Lady Isham is a companion picture, and both are in excellent condition 12l. 12s. i.e., £12.12]] réalisée par un.e artiste anonyme au prix de 12.12 £. [357]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Isham, Sir Eusebius -- and Lady Isham. On Canvas, 32 inches by 26. Sir Eusebius is habited in a black dress, ruff, and gold chain. On the picture is inscribed 'Eusebius Isham, Miles, Año Dni. 1585, ætat. suæ 33.' Lady Isham is a companion picture, and both are in excellent condition 12l. 12s. i.e., £12.12 (artiste anonyme)|Isham, Sir Eusebius -- and Lady Isham. On Canvas, 32 inches by 26. Sir Eusebius is habited in a black dress, ruff, and gold chain. On the picture is inscribed 'Eusebius Isham, Miles, Año Dni. 1585, ætat. suæ 33.' Lady Isham is a companion picture, and both are in excellent condition 12l. 12s. i.e., £12.12]] réalisée par un.e artiste anonyme au prix de 12.12 £. [358]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Howard, Anne Lady -- Wife of Sir William Younge, Bart. On Canvas, 50 inches by 40: in white satin dress, leaning on a pedestal 8l. 8s. i.e., £8.8 Anne, Lady Howard, daughter and coheiress of Thomas Lord Howard, of Effingham, by Mary, daughter of Rush Wentworth, Esq.; was married to Sir William Younge, Bart., by whom she had two sons and six daughters: -- 1, Anne; 2, Louisa, wife of Dr. Charles Howard, Dean of Exeter; 3, Sir George, his successor; 4, Howard, who died young; 5, Charlotte, wife of James Stuart Fulke, Esq.; 6, Amelia, wife of Sir Edward Lloyd, Bart.; 7, Juliana, wife of William Sandford, Esq.; 8, Sophia (artiste anonyme)|Howard, Anne Lady -- Wife of Sir William Younge, Bart. On Canvas, 50 inches by 40: in white satin dress, leaning on a pedestal 8l. 8s. i.e., £8.8 Anne, Lady Howard, daughter and coheiress of Thomas Lord Howard, of Effingham, by Mary, daughter of Rush Wentworth, Esq.; was married to Sir William Younge, Bart., by whom she had two sons and six daughters: -- 1, Anne; 2, Louisa, wife of Dr. Charles Howard, Dean of Exeter; 3, Sir George, his successor; 4, Howard, who died young; 5, Charlotte, wife of James Stuart Fulke, Esq.; 6, Amelia, wife of Sir Edward Lloyd, Bart.; 7, Juliana, wife of William Sandford, Esq.; 8, Sophia]] réalisée par un.e artiste anonyme au prix de 8.8 £. [360]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Howard, Thomas -- Earl of Arundel, And His Countess. Vandyck. On Canvas, 7 feet 2 inches by 4 1/2 feet. The Earl seated before a globe, pointing by his right hand to it; in his left a white staff: short hair, small beard, band, garment of ermine, collar of the garter, in armour. His Countess, Alathea Talbot, seated; in her right hand a pair of compasses, in her left a sphere: own hair, with coronet behind, necklace, and rich collar of diamonds. An excellent copy of the original picture, which Vosterman has engraved with much pleasing effect 35l. i.e., £35.0 (Vandyck)|Howard, Thomas -- Earl of Arundel, And His Countess. Vandyck. On Canvas, 7 feet 2 inches by 4 1/2 feet. The Earl seated before a globe, pointing by his right hand to it; in his left a white staff: short hair, small beard, band, garment of ermine, collar of the garter, in armour. His Countess, Alathea Talbot, seated; in her right hand a pair of compasses, in her left a sphere: own hair, with coronet behind, necklace, and rich collar of diamonds. An excellent copy of the original picture, which Vosterman has engraved with much pleasing effect 35l. i.e., £35.0]] réalisée par Vandyck au prix de 35.0 £. [362]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hough, John -- Bishop of Worcester, Æt. 84, 1734. On Canvas, 50 inches by 40, seated in a chair covered with blue velvet. Arms impaled with those of Worcester in the corner Was son of John Hough, a citizen of London, by Margaret his wife, daughter of John Birche, Esq. of Leacroft, Staffordshire; born April 12, 1651. This prelate is well remembered, from having been ejected from Magdalen College, of which he was President, by James the Second. The calm and intrepid spirit with which he maintained his own rights and those of the college, gained him the Bishopric of Oxford, which he held for a time with his Presidentship. In 1699 he was translated to Lichfield and Coventry. George the First removed him in 1717 to Worcester, where he died May 4, 1743, aged 93. His Lordship married Lettice, daughter of Thomas Fisher, of Walsall, relict of Sir Charles Lee, of Billesley, in Warwickshire (artiste anonyme)|Hough, John -- Bishop of Worcester, Æt. 84, 1734. On Canvas, 50 inches by 40, seated in a chair covered with blue velvet. Arms impaled with those of Worcester in the corner Was son of John Hough, a citizen of London, by Margaret his wife, daughter of John Birche, Esq. of Leacroft, Staffordshire; born April 12, 1651. This prelate is well remembered, from having been ejected from Magdalen College, of which he was President, by James the Second. The calm and intrepid spirit with which he maintained his own rights and those of the college, gained him the Bishopric of Oxford, which he held for a time with his Presidentship. In 1699 he was translated to Lichfield and Coventry. George the First removed him in 1717 to Worcester, where he died May 4, 1743, aged 93. His Lordship married Lettice, daughter of Thomas Fisher, of Walsall, relict of Sir Charles Lee, of Billesley, in Warwickshire]] réalisée par un.e artiste anonyme. [363]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Horn, William -- Æt. 60, 1581. On Canvas, 18 inches by 14; well painted 2l. 10s. i.e., £2.10 'Quid Vultus gravitas? oris quid forma Decori? 'An non divinæ referunt vestigia mentis? 'Hoc, Gulielme, tui prestantes pectoris ausus, 'Consilium prudens; hoc cultus juris et equi; 'Religionis Amor, Regis, Patriæque, Locuuntur. 'Et Licet hæc toties te consule senserit Horna 'Pervigili, natale solum mutare juberis 'Alter Aristides. Vult talia premia virtus.' (artiste anonyme)|Horn, William -- Æt. 60, 1581. On Canvas, 18 inches by 14; well painted 2l. 10s. i.e., £2.10 'Quid Vultus gravitas? oris quid forma Decori? 'An non divinæ referunt vestigia mentis? 'Hoc, Gulielme, tui prestantes pectoris ausus, 'Consilium prudens; hoc cultus juris et equi; 'Religionis Amor, Regis, Patriæque, Locuuntur. 'Et Licet hæc toties te consule senserit Horna 'Pervigili, natale solum mutare juberis 'Alter Aristides. Vult talia premia virtus.']] réalisée par un.e artiste anonyme au prix de 2.10 £. [364]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Honeywood, Mary -- Wife of Robert Honeywood, Esq. of Charing, Kent. On Canvas, oblong, 46 inches by 36. In a carved frame 12l. 12s. i.e., £12.12 To either the Essex or Kentish Collector, this picture has claims of considerable interest. The following inscription would seem to indicate its having been painted at Markeshall, in Essex: - 'The inscription upon Mrs. Honeywood's Tombe, set up in Markeshall Church, in Essex, by her eldest Son Robert Honeywood -- 'Mary Waters, daughter and coheire of Robert Waters, of Lenham, in Kent, Esq. wife of Robert Honeywood, of Charinge, in Kent, Esq. Her only husband had at her decease, lawfully descended from her 367 children, 16 of her owne bodie, 114 Grandchildren, 228 in the third generation, and 9 in the fourth. -- She led a most pious life, and in a christian manner dyed here at Markeshall, in the 93 yeare of her age and the 44th of her wydowood, the 10th of May, Ano Domini 1620' (artiste anonyme)|Honeywood, Mary -- Wife of Robert Honeywood, Esq. of Charing, Kent. On Canvas, oblong, 46 inches by 36. In a carved frame 12l. 12s. i.e., £12.12 To either the Essex or Kentish Collector, this picture has claims of considerable interest. The following inscription would seem to indicate its having been painted at Markeshall, in Essex: - 'The inscription upon Mrs. Honeywood's Tombe, set up in Markeshall Church, in Essex, by her eldest Son Robert Honeywood -- 'Mary Waters, daughter and coheire of Robert Waters, of Lenham, in Kent, Esq. wife of Robert Honeywood, of Charinge, in Kent, Esq. Her only husband had at her decease, lawfully descended from her 367 children, 16 of her owne bodie, 114 Grandchildren, 228 in the third generation, and 9 in the fourth. -- She led a most pious life, and in a christian manner dyed here at Markeshall, in the 93 yeare of her age and the 44th of her wydowood, the 10th of May, Ano Domini 1620']] réalisée par un.e artiste anonyme au prix de 12.12 £. [365]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Henry the Fifth, King of England. On Panel, 22 inches by 17. Profile, in fur cap, gold collar, &c.: a contemporary portrait, resembling the picture in the Palace at Kensington; finely painted, in richly carved frame 12l. 12s. i.e., £12.12 (artiste anonyme)|The Same Henry the Fifth, King of England. On Panel, 22 inches by 17. Profile, in fur cap, gold collar, &c.: a contemporary portrait, resembling the picture in the Palace at Kensington; finely painted, in richly carved frame 12l. 12s. i.e., £12.12]] réalisée par un.e artiste anonyme au prix de 12.12 £. [368]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Henry the First -- King of England. On Panel, 22 inches by 17, in ermine robes, holding the globe and sceptre 8l. 8s. i.e., £8.8 This, with most of the other early portraits of the Sovereigns of England, were recently the compartment panels in the principal room in an ancient hall in Kent (artiste anonyme)|Henry the First -- King of England. On Panel, 22 inches by 17, in ermine robes, holding the globe and sceptre 8l. 8s. i.e., £8.8 This, with most of the other early portraits of the Sovereigns of England, were recently the compartment panels in the principal room in an ancient hall in Kent]] réalisée par un.e artiste anonyme au prix de 8.8 £. [372]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Harington --, of Exton, Rutlandshire. On Canvas, 48 inches by 38. Seated at a table, on which are books, one labelled 'The Twelve great Things of God.' In one of the upper corners are the arms of Harington, and in the other "Æatis suæ 71, 18 Oct. 1679.' In gilt frame 10l. 10s. i.e., £10.10 (artiste anonyme)|Harington --, of Exton, Rutlandshire. On Canvas, 48 inches by 38. Seated at a table, on which are books, one labelled 'The Twelve great Things of God.' In one of the upper corners are the arms of Harington, and in the other "Æatis suæ 71, 18 Oct. 1679.' In gilt frame 10l. 10s. i.e., £10.10]] réalisée par un.e artiste anonyme au prix de 10.10 £. [373]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hamilton, James -- Marquis and Duke of Hamilton. On Canvas, 30 inches by 24, in black frame 8l. 8s. i.e., £8.8 James, Duke of Hamilton, who was at the head of the moderate presbyterians in Scotland, was much in the favour and confidence of Charles I, and was accused by his enemies with a design upon the King's life; but Charles gave so little credit to it, that he made no scruple of lying afterwards in the same bedchamber with him, without using any precaution for his safety. He was so dilatory in his military proceedings, that he was strongly suspected of treachery to that prince in whose cause he afterwards lost his life. In 1648 he invaded England with a numerous army, which was presently defeated by Cromwell and Lambert, the latter of whom took him prisoner. He was beheaded the 9th of March, 1648-9. Recently from the collection at Arden-Hall, Cheshire (artiste anonyme)|Hamilton, James -- Marquis and Duke of Hamilton. On Canvas, 30 inches by 24, in black frame 8l. 8s. i.e., £8.8 James, Duke of Hamilton, who was at the head of the moderate presbyterians in Scotland, was much in the favour and confidence of Charles I, and was accused by his enemies with a design upon the King's life; but Charles gave so little credit to it, that he made no scruple of lying afterwards in the same bedchamber with him, without using any precaution for his safety. He was so dilatory in his military proceedings, that he was strongly suspected of treachery to that prince in whose cause he afterwards lost his life. In 1648 he invaded England with a numerous army, which was presently defeated by Cromwell and Lambert, the latter of whom took him prisoner. He was beheaded the 9th of March, 1648-9. Recently from the collection at Arden-Hall, Cheshire]] réalisée par un.e artiste anonyme au prix de 8.8 £. [376]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Haddington, Thomas Hamilton, Earl of -- Ob. 1640. Russell. On Panel, 15 inches by 12 5l. 5s. i.e., £5.5 The fate of this nobleman was singularly awful: -- Joining with the Covenanters in the beginning of the civil war, and commanding the Castle of Dunglass, in West Lothian, when the Scots' army marched towards England, the Castle, about mid-day, was blown up by his own page firing the magazine, 30 Aug. 1640, when his lordship and sixty gentlemen perished in the destruction that followed (Russell)|Haddington, Thomas Hamilton, Earl of -- Ob. 1640. Russell. On Panel, 15 inches by 12 5l. 5s. i.e., £5.5 The fate of this nobleman was singularly awful: -- Joining with the Covenanters in the beginning of the civil war, and commanding the Castle of Dunglass, in West Lothian, when the Scots' army marched towards England, the Castle, about mid-day, was blown up by his own page firing the magazine, 30 Aug. 1640, when his lordship and sixty gentlemen perished in the destruction that followed]] réalisée par Russell au prix de 5.5 £. [377]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Grandison, William Villiers, Viscount -- Ob. 1643. On Canvas, 6 feet by 4 feet 8 inches, whole length, in a Cavalier's dress, standing against a bank, hat and feathers in his hand, armour, &c. laying by him: a splendid gallery picture, in the style of Vandyck, in capital carved frame 52l. 10s. i.e., £52.10 This personage was the eldest son of Sir Edward Villiers, by Barbara, daughter of Sir John St. John, and niece to Sir Oliver St. John, to whom he succeeded in the title of Viscount Grandison, in 1630. In 1640 he was Colonel of a regiment raised against the Scots; in 1641 he commanded a troop of horse quartered in the county of Armagh, in Ireland, which being surprised and almost cut to pieces by the Irish insurgents on their first rising, who possessed themselves of their arms, he came and served his Sovereign in England; but, in 1642, by the miscarriage of orders, he was exposed, at too great a distance from the army, with his single regiment of 300 horse and another of 200 dragoons, to the unequal number of 5000 horse and dragoons; and, after a retreat to Winchester, was taken with all his party. No blame on this occasion attached to the commander; and the misfortune was lessened by the making his escape, with some of his principal officers, to the King at Oxford. On July 26th, 1643, he commanded at the siege of Bristol, where he led on a division with great resolution; but, being beaten off and wounded, he was carried to Oxford, where he died, at the age of thirty, and was buried in the Cathedral of Christ Church, under a stately monument, erected by his only daughter, Barbara, Duchess of Cleveland. Clarendon says, 'He was a pattern of virtue for a camp or court, except in the instance of duelling; his fault was, that he was inclined to be too prodigal of his person, upon other occasions, when he was at the head of his regiment' (Vandyck)|Grandison, William Villiers, Viscount -- Ob. 1643. On Canvas, 6 feet by 4 feet 8 inches, whole length, in a Cavalier's dress, standing against a bank, hat and feathers in his hand, armour, &c. laying by him: a splendid gallery picture, in the style of Vandyck, in capital carved frame 52l. 10s. i.e., £52.10 This personage was the eldest son of Sir Edward Villiers, by Barbara, daughter of Sir John St. John, and niece to Sir Oliver St. John, to whom he succeeded in the title of Viscount Grandison, in 1630. In 1640 he was Colonel of a regiment raised against the Scots; in 1641 he commanded a troop of horse quartered in the county of Armagh, in Ireland, which being surprised and almost cut to pieces by the Irish insurgents on their first rising, who possessed themselves of their arms, he came and served his Sovereign in England; but, in 1642, by the miscarriage of orders, he was exposed, at too great a distance from the army, with his single regiment of 300 horse and another of 200 dragoons, to the unequal number of 5000 horse and dragoons; and, after a retreat to Winchester, was taken with all his party. No blame on this occasion attached to the commander; and the misfortune was lessened by the making his escape, with some of his principal officers, to the King at Oxford. On July 26th, 1643, he commanded at the siege of Bristol, where he led on a division with great resolution; but, being beaten off and wounded, he was carried to Oxford, where he died, at the age of thirty, and was buried in the Cathedral of Christ Church, under a stately monument, erected by his only daughter, Barbara, Duchess of Cleveland. Clarendon says, 'He was a pattern of virtue for a camp or court, except in the instance of duelling; his fault was, that he was inclined to be too prodigal of his person, upon other occasions, when he was at the head of his regiment']] réalisée par Vandyck au prix de 52.10 £. [379]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Granby, John Manners, Marquis of -- Ob. 1770. Rising. Copy after Sir Joshua Reynolds, on Canvas, 13 inches by 11, in a carved frame 3l. 3s. i.e., £3.3 Eldest son of John, third Duke of Rutland, educated at Eton School and Trinity College, Cambridge. He married, in 1750, Lady Frances Seymour, eldest daughter of Charles Duke of Somerset; was M.P. for Grantham in three successive Parliaments, and died at Belvoir Castle, Oct. 11, 1770 (Rising)|Granby, John Manners, Marquis of -- Ob. 1770. Rising. Copy after Sir Joshua Reynolds, on Canvas, 13 inches by 11, in a carved frame 3l. 3s. i.e., £3.3 Eldest son of John, third Duke of Rutland, educated at Eton School and Trinity College, Cambridge. He married, in 1750, Lady Frances Seymour, eldest daughter of Charles Duke of Somerset; was M.P. for Grantham in three successive Parliaments, and died at Belvoir Castle, Oct. 11, 1770]] réalisée par Rising au prix de 3.3 £. [380]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gilbert, John -- Prebendary oOf Exeter. Gandy. On Canvas, 30 inches by 25. In his gown, &c. 4l. 4s. i.e., £4.4 Vertue has engraved from this picture. The portrait is prefixed to Gilbert's Discourses, 1714, Svo. Noble, as usual, adduces little else than conjecture respecting this person to the notice of Vertue's print, vid. Continuation to Granger, vol. ii, p. 118 (Gandy)|Gilbert, John -- Prebendary oOf Exeter. Gandy. On Canvas, 30 inches by 25. In his gown, &c. 4l. 4s. i.e., £4.4 Vertue has engraved from this picture. The portrait is prefixed to Gilbert's Discourses, 1714, Svo. Noble, as usual, adduces little else than conjecture respecting this person to the notice of Vertue's print, vid. Continuation to Granger, vol. ii, p. 118]] réalisée par Gandy au prix de 4.4 £. [382]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gibbes, James Alban -- Ob. 1677. On Canvas, 40 inches by 30. Painted in imitative relief from the sculpture in the Pantheon at Rome, with the following inscription: 'D.O.M.Jacobus Albanus Gibbesius, Doctoris Oxoniensis, Poeta Laureatus, Ob. 1677' 6l. 6s. i.e., £6.6 (artiste anonyme)|Gibbes, James Alban -- Ob. 1677. On Canvas, 40 inches by 30. Painted in imitative relief from the sculpture in the Pantheon at Rome, with the following inscription: 'D.O.M.Jacobus Albanus Gibbesius, Doctoris Oxoniensis, Poeta Laureatus, Ob. 1677' 6l. 6s. i.e., £6.6]] réalisée par un.e artiste anonyme au prix de 6.6 £. [385]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same George III, King of England -- With Queen Charlotte. Gainsborough. On Canvas, 30 inches by 25. In gilt frames, surmounted by the crown 14l. 14s. i.e., £14.14 Both are excellent pictures by this esteemed artist, and were recently the property of the late Duke of Kent (Gainsborough)|The Same George III, King of England -- With Queen Charlotte. Gainsborough. On Canvas, 30 inches by 25. In gilt frames, surmounted by the crown 14l. 14s. i.e., £14.14 Both are excellent pictures by this esteemed artist, and were recently the property of the late Duke of Kent]] réalisée par Gainsborough au prix de 14.14 £. [386]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Fox --. On Canvas, 6 feet 2 inches by 3 feet 2 inches. Whole length portrait of a gentleman, supposed, from the arms, to be of the family of Fox, in Falconer's dress 12l. 12s. i.e., £12.12 This picture is in the style of Mark Garrard, and represents him with an hawk's glove on his left hand, on which sits a falcon. The arms are pendant from the bough of a tree on his right. Arg. a chevron vert, luter three griffins' heads erased gules. The crest a griffin's head, as in the shield. The costume is of the time of James the First A Gentleman, Whole length, in a green hunting dress -- see Fox, page 19. The date and age are on the picture, viz. Ætat 26, 1623 (Mark Garrard)|Fox --. On Canvas, 6 feet 2 inches by 3 feet 2 inches. Whole length portrait of a gentleman, supposed, from the arms, to be of the family of Fox, in Falconer's dress 12l. 12s. i.e., £12.12 This picture is in the style of Mark Garrard, and represents him with an hawk's glove on his left hand, on which sits a falcon. The arms are pendant from the bough of a tree on his right. Arg. a chevron vert, luter three griffins' heads erased gules. The crest a griffin's head, as in the shield. The costume is of the time of James the First A Gentleman, Whole length, in a green hunting dress -- see Fox, page 19. The date and age are on the picture, viz. Ætat 26, 1623]] réalisée par Mark Garrard au prix de 12.12 £. [397]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Essex, Robert Devereux, Earl of -- Favourite Of Queen Elizabeth. On Panel, 22 inches by 17. Habited in a white satin dress, ribbon of the order of the garter, &c. In carved frame 8l. 8s. i.e., £8.8 Robert, son of Walter Devereux, Earl of Essex, was born in 1567. He was introduced, when young, to court, and early gained a considerable influence over the Queen, though his high spirit often betrayed him into petulant behaviour even to her; and, on the disgrace he fell into by the suggestions of his enemies concerning Elizabeth's conduct, after his unsuccessful expedition to Ireland, his rash temper prompted him to an ill-concerted attempt at an insurrection in London, for which he was beheaded in 1601 (artiste anonyme)|Essex, Robert Devereux, Earl of -- Favourite Of Queen Elizabeth. On Panel, 22 inches by 17. Habited in a white satin dress, ribbon of the order of the garter, &c. In carved frame 8l. 8s. i.e., £8.8 Robert, son of Walter Devereux, Earl of Essex, was born in 1567. He was introduced, when young, to court, and early gained a considerable influence over the Queen, though his high spirit often betrayed him into petulant behaviour even to her; and, on the disgrace he fell into by the suggestions of his enemies concerning Elizabeth's conduct, after his unsuccessful expedition to Ireland, his rash temper prompted him to an ill-concerted attempt at an insurrection in London, for which he was beheaded in 1601]] réalisée par un.e artiste anonyme au prix de 8.8 £. [399]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Elizabeth -- Queen of England. Mark Garrard. On Panel, 22 inches by 16. Habited in a white lace ruff, richly pearled dress, falling veil from an elegant head dress: a well painted portrait, in a superb carved frame. 'ELIZABETHA ANGLLE REGINA,' in gilt projecting letters 24l. i.e., £24.0 This portrait, which exhibits 'the Maiden Queen' late in life, and as such is not without interest, was recently the property of the late Sir William Smith, Bart. of Hill-Hall, Essex (Mark Garrard)|Elizabeth -- Queen of England. Mark Garrard. On Panel, 22 inches by 16. Habited in a white lace ruff, richly pearled dress, falling veil from an elegant head dress: a well painted portrait, in a superb carved frame. 'ELIZABETHA ANGLLE REGINA,' in gilt projecting letters 24l. i.e., £24.0 This portrait, which exhibits 'the Maiden Queen' late in life, and as such is not without interest, was recently the property of the late Sir William Smith, Bart. of Hill-Hall, Essex]] réalisée par Mark Garrard au prix de 24.0 £. [400]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Egerton Family -- Elizabeth, Vere, and Mary Egerton, Grand-daughters of Lord Chancellor Egerton. Mark Garrards. An unquestionably original picture by this Master, on Canvas, square, 54 inches by 54. The costume of these figures, whole lengths, at the ages of three, five, and six years, are interesting, from the profuse ornaments of jewellery, and the feather fans which each hold in their hands. The carved frame, in excellent condition, is contemporary with the time of the painting, which was expressly finished as an additional decoration preparatory to the visit which Queen Elizabeth deigned the family, at their mansion, in 1600 42l. i.e., £42.0 The above are portraits of Elizabeth, Vere, and Mary Egerton, daughters of Thomas Egerton, eldest son of Lord Chancellor Egerton, by Elizabeth his wife, daughter of Thomas Venebles, Baron of Kinderton, Cheshire, Esq. -- Elizabeth married Thomas Dutton, of Dutton, in Cheshire; -- Vere, William Booth, son and heir of Sir George Booth, of Dunham, in the said county, Knight and Baronet; -- and Mary, Sir John Leigh, of Stonely, in the county of Warwick, Bart (Mark Garrards)|Egerton Family -- Elizabeth, Vere, and Mary Egerton, Grand-daughters of Lord Chancellor Egerton. Mark Garrards. An unquestionably original picture by this Master, on Canvas, square, 54 inches by 54. The costume of these figures, whole lengths, at the ages of three, five, and six years, are interesting, from the profuse ornaments of jewellery, and the feather fans which each hold in their hands. The carved frame, in excellent condition, is contemporary with the time of the painting, which was expressly finished as an additional decoration preparatory to the visit which Queen Elizabeth deigned the family, at their mansion, in 1600 42l. i.e., £42.0 The above are portraits of Elizabeth, Vere, and Mary Egerton, daughters of Thomas Egerton, eldest son of Lord Chancellor Egerton, by Elizabeth his wife, daughter of Thomas Venebles, Baron of Kinderton, Cheshire, Esq. -- Elizabeth married Thomas Dutton, of Dutton, in Cheshire; -- Vere, William Booth, son and heir of Sir George Booth, of Dunham, in the said county, Knight and Baronet; -- and Mary, Sir John Leigh, of Stonely, in the county of Warwick, Bart]] réalisée par Mark Garrards au prix de 42.0 £. [402]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Edgecombe, Sir Richard -- Bart. of Mount-Edgecombe, Devon. On Canvas, 30 inches by 24. In Armour, red sash, &c. arms impaled with those of Montague. Finely painted, in Dobson's manner 6l. 6s. i.e., £6.6 Sir Richard was born at Mount Edgecombe, in 1639; was made one of the Knights of the Bath at the Coronation of King Charles the Second, and attended that grand solemnity in his purple robes. He married Lady Anne Mountague, the second surviving daughter of the brave Earl of Sandwich, by whom he had two sons, whereof the second was made Lord Edgecombe, and five daughters. Sir Richard died April 3, 1688. Lady Edgecombe was married, secondly, to Christopher Montague, elder brother to Charles Earl of Halifax, who died in March 1729, and was buried by the side of her former husband (Dobson)|Edgecombe, Sir Richard -- Bart. of Mount-Edgecombe, Devon. On Canvas, 30 inches by 24. In Armour, red sash, &c. arms impaled with those of Montague. Finely painted, in Dobson's manner 6l. 6s. i.e., £6.6 Sir Richard was born at Mount Edgecombe, in 1639; was made one of the Knights of the Bath at the Coronation of King Charles the Second, and attended that grand solemnity in his purple robes. He married Lady Anne Mountague, the second surviving daughter of the brave Earl of Sandwich, by whom he had two sons, whereof the second was made Lord Edgecombe, and five daughters. Sir Richard died April 3, 1688. Lady Edgecombe was married, secondly, to Christopher Montague, elder brother to Charles Earl of Halifax, who died in March 1729, and was buried by the side of her former husband]] réalisée par Dobson au prix de 6.6 £. [403]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Dorset, Edward Sackville, Earl of -- Ob. 1652. Vandyke. On Canvas, 38 inches by 32. In cuirass, lace collar, the george pendant from the neck. This picture, unquestionably the production of the artist named, is unfortunately in an injured state 4l. 4s. i.e., £4.4 Vertue has engraved from this picture, and it is erroneously re-engraved for Park's edition of Walpole's Royal and Noble Authors, as Richard, the fifth Earl of Dorset (Vandyke)|Dorset, Edward Sackville, Earl of -- Ob. 1652. Vandyke. On Canvas, 38 inches by 32. In cuirass, lace collar, the george pendant from the neck. This picture, unquestionably the production of the artist named, is unfortunately in an injured state 4l. 4s. i.e., £4.4 Vertue has engraved from this picture, and it is erroneously re-engraved for Park's edition of Walpole's Royal and Noble Authors, as Richard, the fifth Earl of Dorset]] réalisée par Vandyke au prix de 4.4 £. [405]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Dormer, Robert, Earl of Caernarvon; with His Countess, Lady Elizabeth Herbert. Vandyke. Original sketch of the figures, as introduced into that Artist's celebrated picture of the Pembroke family, at Wilton. Small, on Canvas 8l. 8s. i.e., £8.8 Baron Dormer, of Wing, Buckinghamshire, was created Viscount Ascot, and Earl of Caernarvon, by Charles I, in 1628. He espoused that monarch's cause during the commotions that succeeded his want of principle and breach of faith with his subjects in 1641, and was slain, while fighting for his inefficient sovereign, at the battle of Newbury, in 1643 (Vandyke)|Dormer, Robert, Earl of Caernarvon; with His Countess, Lady Elizabeth Herbert. Vandyke. Original sketch of the figures, as introduced into that Artist's celebrated picture of the Pembroke family, at Wilton. Small, on Canvas 8l. 8s. i.e., £8.8 Baron Dormer, of Wing, Buckinghamshire, was created Viscount Ascot, and Earl of Caernarvon, by Charles I, in 1628. He espoused that monarch's cause during the commotions that succeeded his want of principle and breach of faith with his subjects in 1641, and was slain, while fighting for his inefficient sovereign, at the battle of Newbury, in 1643]] réalisée par Vandyke au prix de 8.8 £. [407]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Done Family, of Utikinton, Cheshire. Dobson. On Canvas, oblong, 37 inches by 62 12l. 12s. i.e., £12.12 This interesting family picture was some few years since at Arden-Hall, in Stockport, and has No. 33 marked on it, at which number it so stood in the Catalogue of that Collection. It represents the widowed lady of Sir John Done seated in a chair, receiving some flowers presented to her by her daughter; on her left stands her son -- Done, holding his white staff, as Ranger of Delamere Forest; a dog by his side. It is painted with much spirit and effect. On a label in the corner is the motto 'Doni Nomen, Boni Omen," a conceit prevalent in pictures of this period (Dobson)|Done Family, of Utikinton, Cheshire. Dobson. On Canvas, oblong, 37 inches by 62 12l. 12s. i.e., £12.12 This interesting family picture was some few years since at Arden-Hall, in Stockport, and has No. 33 marked on it, at which number it so stood in the Catalogue of that Collection. It represents the widowed lady of Sir John Done seated in a chair, receiving some flowers presented to her by her daughter; on her left stands her son -- Done, holding his white staff, as Ranger of Delamere Forest; a dog by his side. It is painted with much spirit and effect. On a label in the corner is the motto 'Doni Nomen, Boni Omen," a conceit prevalent in pictures of this period]] réalisée par Dobson au prix de 12.12 £. [408]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Devonshire, William Cavendish, Fourth Duke of -- Ob. 1766. Sir Joshua Reynolds. On Canvas, 50 inches by 40. Painted in the arist's early manner, in his robes, with the ribbon of the order of the garter, very similar to the mezzotinto print 12l. 12s. i.e., £12.12 (Sir Joshua Reynolds)|Devonshire, William Cavendish, Fourth Duke of -- Ob. 1766. Sir Joshua Reynolds. On Canvas, 50 inches by 40. Painted in the arist's early manner, in his robes, with the ribbon of the order of the garter, very similar to the mezzotinto print 12l. 12s. i.e., £12.12]] réalisée par Sir Joshua Reynolds au prix de 12.12 £. [409]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Dethick, Sir Gilbert -- Knight, Garter Principal King at Arms, Temp. Henry VIII, Edward VI, Mary, and Elizabeth. Zucchero. On Panel, 24 inches by 18, with the Collar of SS, and the badge of the order of the garter, Arms in the corner, with Latin inscription below. In original black frame 10l. 10s. i.e., £10.10 Noble, in his History of the College of Arms, has given a copious biography of this singular man, vid. pp. 164-168. He died Oct. 3d. 1584, aged 81, having been in the Heraldic body sixty-five years. His remains were buried in St. Bennet's Church, Paul's Wharf (Zucchero)|Dethick, Sir Gilbert -- Knight, Garter Principal King at Arms, Temp. Henry VIII, Edward VI, Mary, and Elizabeth. Zucchero. On Panel, 24 inches by 18, with the Collar of SS, and the badge of the order of the garter, Arms in the corner, with Latin inscription below. In original black frame 10l. 10s. i.e., £10.10 Noble, in his History of the College of Arms, has given a copious biography of this singular man, vid. pp. 164-168. He died Oct. 3d. 1584, aged 81, having been in the Heraldic body sixty-five years. His remains were buried in St. Bennet's Church, Paul's Wharf]] réalisée par Zucchero au prix de 10.10 £. [410]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Desaguliers, John Theophilus -- LL.D., F.R.S. On Panel, 14 inches by 12 2l. 12s. 6d. i.e., £2.12 Dr. Desaguliers, the son of a French Protestant refugee, was born at Rochelle, in 1683. His acquirements were such, as to induce his appointment as Chaplain to 'the magnificent Duke of Chandos,' by whom he was presented to the living of Edgeware, near Cannons. He was afterwards Chaplain to Frederic Prince of Wales, and died in 1744. Desaguliers deserves the respect of all men of science: he introduced the practice of reading public lectures in experimental philosophy in the metropolis, and made several improvements in mechanics (artiste anonyme)|Desaguliers, John Theophilus -- LL.D., F.R.S. On Panel, 14 inches by 12 2l. 12s. 6d. i.e., £2.12 Dr. Desaguliers, the son of a French Protestant refugee, was born at Rochelle, in 1683. His acquirements were such, as to induce his appointment as Chaplain to 'the magnificent Duke of Chandos,' by whom he was presented to the living of Edgeware, near Cannons. He was afterwards Chaplain to Frederic Prince of Wales, and died in 1744. Desaguliers deserves the respect of all men of science: he introduced the practice of reading public lectures in experimental philosophy in the metropolis, and made several improvements in mechanics]] réalisée par un.e artiste anonyme au prix de 2.12 £. [411]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cutts, Elizabeth Clarke, Lady -- Wife of the above Cutts, John Lord -- Baron Cutts, of Gouran, Ireland Wissing. On Canvas, 36 inches by 30. Supported by her left arm resting on a vase, hair loosely flowing 6l. 6s. i.e., £6.6 This picture was of the same size as the preceding; but being by accident irreparably damaged, was cut down to the size designated a Kit Cat (Wissing)|Cutts, Elizabeth Clarke, Lady -- Wife of the above Cutts, John Lord -- Baron Cutts, of Gouran, Ireland Wissing. On Canvas, 36 inches by 30. Supported by her left arm resting on a vase, hair loosely flowing 6l. 6s. i.e., £6.6 This picture was of the same size as the preceding; but being by accident irreparably damaged, was cut down to the size designated a Kit Cat]] réalisée par Wissing au prix de 6.6 £. [414]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cutts, John Lord -- Baron Cutts, of Gouran, Ireland. Wissing. On Canvas, 50 inches by 40. In a lemon-coloured coat, rich sash, &c. Arms -- Argent on a bend engrailed, sable three plates: by the ignorance of the painter, a Viscount's coronet is introduced instead of a Baron's 12l. 12s. i.e., £12.12 Walpole says, John Lord Cutts was son of Richard Cutts, Esq. of Matching, in Essex; though Mackey, from corroboratory reasons, adduced by Noble, states him more correctly to have been "a gentleman of Childerley in Cambridgeshire." William III procured him the command of an English regiment in the Dutch service, in the uniform of which he is depicted. He accompanied the Prince of Orange to England, in 1688, who gave him the command of the second regiment of Foot-guards. Swift evinced an intemperate aversion to this nobleman, and pronounced him "the vainest old fool alive." He died at Dublin, 26 Jan. 1706, and was buried there in the Cathedral of Christ Church (Wissing)|Cutts, John Lord -- Baron Cutts, of Gouran, Ireland. Wissing. On Canvas, 50 inches by 40. In a lemon-coloured coat, rich sash, &c. Arms -- Argent on a bend engrailed, sable three plates: by the ignorance of the painter, a Viscount's coronet is introduced instead of a Baron's 12l. 12s. i.e., £12.12 Walpole says, John Lord Cutts was son of Richard Cutts, Esq. of Matching, in Essex; though Mackey, from corroboratory reasons, adduced by Noble, states him more correctly to have been "a gentleman of Childerley in Cambridgeshire." William III procured him the command of an English regiment in the Dutch service, in the uniform of which he is depicted. He accompanied the Prince of Orange to England, in 1688, who gave him the command of the second regiment of Foot-guards. Swift evinced an intemperate aversion to this nobleman, and pronounced him "the vainest old fool alive." He died at Dublin, 26 Jan. 1706, and was buried there in the Cathedral of Christ Church]] réalisée par Wissing au prix de 12.12 £. [415]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Craggs, James, Esq. of Gosfield Hall, Essex -- Secretary to The Post Office, and the Associate of most of the distinguished Literati of his time. Kneller. Finely painted on Canvas, 30 inches by 24. Vertue's engraving is taken from this picture 5l. 5s. i.e., £5.5 (Kneller)|Craggs, James, Esq. of Gosfield Hall, Essex -- Secretary to The Post Office, and the Associate of most of the distinguished Literati of his time. Kneller. Finely painted on Canvas, 30 inches by 24. Vertue's engraving is taken from this picture 5l. 5s. i.e., £5.5]] réalisée par Kneller au prix de 5.5 £. [418]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Compton, Spencer -- Earl of Wilmington. Wissing. On Canvas, 64 inches by 44, whole length. Attired as Cupid, leaning on a pedestal, on which is a quiver full of arrows, a spaniel by his side. In gilt frame 15l. 15s. i.e., £15.15 Spencer Compton was son of James Compton, third Earl of Northampton, who died 1681, by his second wife, the Lady Mary Noel, daughter of Baptist Noel, Viscount Campden. He was created Baron Wilmington, in the county of Sussex, January 2, 1728; and on the 14th of May, 1730, created Viscount Pevensey and Earl of Wilmington, having been Speaker of the House of Commons during several Parliaments. He died July, 1743 (Wissing)|Compton, Spencer -- Earl of Wilmington. Wissing. On Canvas, 64 inches by 44, whole length. Attired as Cupid, leaning on a pedestal, on which is a quiver full of arrows, a spaniel by his side. In gilt frame 15l. 15s. i.e., £15.15 Spencer Compton was son of James Compton, third Earl of Northampton, who died 1681, by his second wife, the Lady Mary Noel, daughter of Baptist Noel, Viscount Campden. He was created Baron Wilmington, in the county of Sussex, January 2, 1728; and on the 14th of May, 1730, created Viscount Pevensey and Earl of Wilmington, having been Speaker of the House of Commons during several Parliaments. He died July, 1743]] réalisée par Wissing au prix de 15.15 £. [423]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Colfe, Joseph -- Alderman, Sometime Mayor of Canterbury, Kent, Ob. 1620. On Panel, 33 inches by 28. In his official robes as Mayor, holding in his hand a Pomegranate; his armorial insignia in the corner. Finely painted, in ancient carved frame 8l. 8s. i.e., £8.8 Hasted records the good deeds of this worthy man, and upright magistrate. He was master of Maynard's-hospital in Canterbury, founded in 1317; and which, in 1617, he repaired at his own cost. -- See History of Canterbury, 1799, fol. pp. 62-81 n. (artiste anonyme)|Colfe, Joseph -- Alderman, Sometime Mayor of Canterbury, Kent, Ob. 1620. On Panel, 33 inches by 28. In his official robes as Mayor, holding in his hand a Pomegranate; his armorial insignia in the corner. Finely painted, in ancient carved frame 8l. 8s. i.e., £8.8 Hasted records the good deeds of this worthy man, and upright magistrate. He was master of Maynard's-hospital in Canterbury, founded in 1317; and which, in 1617, he repaired at his own cost. -- See History of Canterbury, 1799, fol. pp. 62-81 n.]] réalisée par un.e artiste anonyme au prix de 8.8 £. [424]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clifford, Thomas -- Lord Clifford of Chudleigh, Lord High Treasurer of England. Sir Peter Lely. On Canvas, 50 inches by 40. Finely painted, and in excellent condition, carved frame, newly gilt 21l. i.e., £21.0 Born at Ugbrook, in Devonshire, in 1630. He was, in 1670, one of Charles the Second's council, known by the name of the Cabal, whose avowed intention was to render the king absolute, to establish popery, and destroy the Dutch States; and obtained the Treasurer's Staff, by his intimating the important secret of shutting up the Exchequer to the King. He was created Baron Clifford in 1672, and died in the following year (Sir Peter Lely)|Clifford, Thomas -- Lord Clifford of Chudleigh, Lord High Treasurer of England. Sir Peter Lely. On Canvas, 50 inches by 40. Finely painted, and in excellent condition, carved frame, newly gilt 21l. i.e., £21.0 Born at Ugbrook, in Devonshire, in 1630. He was, in 1670, one of Charles the Second's council, known by the name of the Cabal, whose avowed intention was to render the king absolute, to establish popery, and destroy the Dutch States; and obtained the Treasurer's Staff, by his intimating the important secret of shutting up the Exchequer to the King. He was created Baron Clifford in 1672, and died in the following year]] réalisée par Sir Peter Lely au prix de 21.0 £. [425]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clifford, Anne -- Countess of Pembroke and Dorset. On Panel, 18 inches by 14. This picture represents the Countess at an early period of life, her hair profusely adorned with jewels. Robert White's rare portrait corresponds in a great measure with the features, and nearly in costume. The frame is a superb specimen of open carving, richly gilt 14l. 14s. i.e., £14.14 Anne Clifford, the only surviving child, and at length sole heiress of the gallant and eccentric George Clifford, third Earl of Cumberland, by Margaret, third daughter of Francis Russell, Earl of Bedford, was born at Skipton Castle, her father's seat in Yorkshire, 13 Jan. 1589. She was first married to Richard, third Earl of Dorset; and secondly, when she had passed the age of forty, to Philip Herbert, Earl of Pembroke. She had by Lord Dorset three sons, who died infants, and two daughters; Margaret married to John Tufton, Earl of Thanet; and Isabella married to James Compton, Earl of Northampton. She died at Brougham Castle, 22 March, 1675 (artiste anonyme)|Clifford, Anne -- Countess of Pembroke and Dorset. On Panel, 18 inches by 14. This picture represents the Countess at an early period of life, her hair profusely adorned with jewels. Robert White's rare portrait corresponds in a great measure with the features, and nearly in costume. The frame is a superb specimen of open carving, richly gilt 14l. 14s. i.e., £14.14 Anne Clifford, the only surviving child, and at length sole heiress of the gallant and eccentric George Clifford, third Earl of Cumberland, by Margaret, third daughter of Francis Russell, Earl of Bedford, was born at Skipton Castle, her father's seat in Yorkshire, 13 Jan. 1589. She was first married to Richard, third Earl of Dorset; and secondly, when she had passed the age of forty, to Philip Herbert, Earl of Pembroke. She had by Lord Dorset three sons, who died infants, and two daughters; Margaret married to John Tufton, Earl of Thanet; and Isabella married to James Compton, Earl of Northampton. She died at Brougham Castle, 22 March, 1675]] réalisée par un.e artiste anonyme au prix de 14.14 £. [426]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clayton, William -- Lord Sundon, and His Lady. Kneller. On Canvas, 50 inches by 40, style of, 21l. i.e., £21.0 These pictures were painted for, and presented by them to the celebrated Dr. Friend. There is a long inscription on each Portrait. In 1714 he was made a Commissioner of the Treasury, and created 2 June, 1735, 8 Geo. II, Baron Sundon of Ardagh, Co. Longford. He married the sister of Colonel Dives, bedchamber woman to Queen Caroline, when Princess of Wales, who died 1st Jan. 1741-2. His Lordship, by whom the title became extinct, died Charlotta Clayton Ser. Reginæ Carolinæ a cubiculo Ministea Hanc sui Imaginem Johanni Friend, M.D. cui omnia Amicitiæ munera Tum viro, tum etiam, qua licuit, mortuo præstitit, Ipsius et Famam fovendo, et Necessarios Humanissimis Officiis prosequendo. Dono dedit A.D. 1728 (Kneller)|Clayton, William -- Lord Sundon, and His Lady. Kneller. On Canvas, 50 inches by 40, style of, 21l. i.e., £21.0 These pictures were painted for, and presented by them to the celebrated Dr. Friend. There is a long inscription on each Portrait. In 1714 he was made a Commissioner of the Treasury, and created 2 June, 1735, 8 Geo. II, Baron Sundon of Ardagh, Co. Longford. He married the sister of Colonel Dives, bedchamber woman to Queen Caroline, when Princess of Wales, who died 1st Jan. 1741-2. His Lordship, by whom the title became extinct, died Charlotta Clayton Ser. Reginæ Carolinæ a cubiculo Ministea Hanc sui Imaginem Johanni Friend, M.D. cui omnia Amicitiæ munera Tum viro, tum etiam, qua licuit, mortuo præstitit, Ipsius et Famam fovendo, et Necessarios Humanissimis Officiis prosequendo. Dono dedit A.D. 1728]] réalisée par Kneller au prix de 21.0 £. [427]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clayton, William -- Lord Sundon, and His Lady. Kneller. On Canvas, 50 inches by 40, style of, 21l. i.e., £21.0 These pictures were painted for, and presented by them to the celebrated Dr. Friend. There is a long inscription on each Portrait. In 1714 he was made a Commissioner of the Treasury, and created 2 June, 1735, 8 Geo. II, Baron Sundon of Ardagh, Co. Longford. He married the sister of Colonel Dives, bedchamber woman to Queen Caroline, when Princess of Wales, who died 1st Jan. 1741-2. His Lordship, by whom the title became extinct, died Honorabilis admodum Gulielmus Clayton, Arm. Vir Integerrimus, Secunda jam Vice Unus ex Honorat.mis Quæsturæ Dominis, Hanc sui Imaginum Johanni Friend, M.D. Valetudinis suæ prope Desperatæ ab illo tamen restitutæ memor. Dono dedit A.D. 1728 (Kneller)|Clayton, William -- Lord Sundon, and His Lady. Kneller. On Canvas, 50 inches by 40, style of, 21l. i.e., £21.0 These pictures were painted for, and presented by them to the celebrated Dr. Friend. There is a long inscription on each Portrait. In 1714 he was made a Commissioner of the Treasury, and created 2 June, 1735, 8 Geo. II, Baron Sundon of Ardagh, Co. Longford. He married the sister of Colonel Dives, bedchamber woman to Queen Caroline, when Princess of Wales, who died 1st Jan. 1741-2. His Lordship, by whom the title became extinct, died Honorabilis admodum Gulielmus Clayton, Arm. Vir Integerrimus, Secunda jam Vice Unus ex Honorat.mis Quæsturæ Dominis, Hanc sui Imaginum Johanni Friend, M.D. Valetudinis suæ prope Desperatæ ab illo tamen restitutæ memor. Dono dedit A.D. 1728]] réalisée par Kneller au prix de 21.0 £. [428]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clarke, Samuel -- D.D., Rector of St. James, Westminster. On Canvas, 50 inches by 40. In an appropriate black and gold frame 7l. 7s. i.e., £7.7 Peculiarly interesting from the circumstance of its being an amateur painting, by Mrs. Hoadley, wife of Bishop Hoadley. Dr. Johnson considered Clarke the greatest literary prodigy of his day (Mrs. Hoadley)|Clarke, Samuel -- D.D., Rector of St. James, Westminster. On Canvas, 50 inches by 40. In an appropriate black and gold frame 7l. 7s. i.e., £7.7 Peculiarly interesting from the circumstance of its being an amateur painting, by Mrs. Hoadley, wife of Bishop Hoadley. Dr. Johnson considered Clarke the greatest literary prodigy of his day]] réalisée par Mrs. Hoadley au prix de 7.7 £. [429]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Charles II, King of England, in Walking Dress. On Canvas, 24 inches by 16, whole length 6l. 6s. i.e., £6.6 The King is here represented in the costume in which he appeared in the Parks among his subjects. The wide brimmed hat and feathers, walking stick, &c. cannot fail to render this, to many, an interesting picture (artiste anonyme)|The Same Charles II, King of England, in Walking Dress. On Canvas, 24 inches by 16, whole length 6l. 6s. i.e., £6.6 The King is here represented in the costume in which he appeared in the Parks among his subjects. The wide brimmed hat and feathers, walking stick, &c. cannot fail to render this, to many, an interesting picture]] réalisée par un.e artiste anonyme au prix de 6.6 £. [430]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Charles the First, King of England. Vandyke. On Canvas, 42 inches by 32. In gilt frame. 12l. 12s. i.e., £12.12 An early copy of the celebrated picture in his Majesty's Collection, representing that ill-fated monarch in three positions, and from which Bernini made his famous bust (Vandyke)|Charles the First, King of England. Vandyke. On Canvas, 42 inches by 32. In gilt frame. 12l. 12s. i.e., £12.12 An early copy of the celebrated picture in his Majesty's Collection, representing that ill-fated monarch in three positions, and from which Bernini made his famous bust]] réalisée par Vandyke au prix de 12.12 £. [439]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Charles the Fifth, Emperor of Germany, in Armour. On Panel, 18 inches by 13. Decorated with the Order of the Golden Fleece. Inscribed 'L'EMPRVR CHARLVS.' 3l. 3s. i.e., £3.3 Formerly in the Collection of the late Charles Yarnold, Esq. of St. Helen's Place (artiste anonyme)|The Same Charles the Fifth, Emperor of Germany, in Armour. On Panel, 18 inches by 13. Decorated with the Order of the Golden Fleece. Inscribed 'L'EMPRVR CHARLVS.' 3l. 3s. i.e., £3.3 Formerly in the Collection of the late Charles Yarnold, Esq. of St. Helen's Place]] réalisée par un.e artiste anonyme au prix de 3.3 £. [440]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A companion picture to the preceding, representing a priest praying before an altar, on which is an armorial bearing: per bend or. and sable, a lion rampant, gules. The figure very similar to the generally received portrait of Martin Luther 4l. 4s. i.e., £4.4 Peculiarly adapted as doors to a cabinet (artiste anonyme)|A companion picture to the preceding, representing a priest praying before an altar, on which is an armorial bearing: per bend or. and sable, a lion rampant, gules. The figure very similar to the generally received portrait of Martin Luther 4l. 4s. i.e., £4.4 Peculiarly adapted as doors to a cabinet]] réalisée par un.e artiste anonyme au prix de 4.4 £. [442]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cecil, Hon. William -- Third Son of John, Earl of Exeter. On Canvas, 30 inches by 24. From the inscription on the back, he appears to have been a "pupil of Dr. Jenkins, Master of St. John's, Cambridge," and is represented in a red cloak, point-lace bands, &c. 4l. 4s. i.e., £4.4 (artiste anonyme)|Cecil, Hon. William -- Third Son of John, Earl of Exeter. On Canvas, 30 inches by 24. From the inscription on the back, he appears to have been a "pupil of Dr. Jenkins, Master of St. John's, Cambridge," and is represented in a red cloak, point-lace bands, &c. 4l. 4s. i.e., £4.4]] réalisée par un.e artiste anonyme au prix de 4.4 £. [445]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Cecil, Robert -- Earl of Salisbury -- with His Countess. On Panel, 40 inches by 30. In black costume, nearly down to the knees. A pair of very interesting Pictures 26l. 5s. i.e., £26.5 He married Elizabeth Brook, daughter of William Brook, Lord Cobham (artiste anonyme)|The Same Cecil, Robert -- Earl of Salisbury -- with His Countess. On Panel, 40 inches by 30. In black costume, nearly down to the knees. A pair of very interesting Pictures 26l. 5s. i.e., £26.5 He married Elizabeth Brook, daughter of William Brook, Lord Cobham]] réalisée par un.e artiste anonyme au prix de 26.5 £. [446]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cecil, Robert -- Earl of Salisbury, Ob. 1612. On Panel, 22 inches by 18. 6l. 6s. i.e., £6.6 This nobleman, the son of the famous William Cecil, Lord Burleigh, was Secretary of State to King James I, and is represented in this portrait with the Treasurer's staff A pair of very interesting Pictures (artiste anonyme)|Cecil, Robert -- Earl of Salisbury, Ob. 1612. On Panel, 22 inches by 18. 6l. 6s. i.e., £6.6 This nobleman, the son of the famous William Cecil, Lord Burleigh, was Secretary of State to King James I, and is represented in this portrait with the Treasurer's staff A pair of very interesting Pictures]] réalisée par un.e artiste anonyme au prix de 6.6 £. [447]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Busby, Richard -- D.D., Master of Westminster School. On Canvas, 30 inches by 25. In gown and band 7l. 7s. i.e., £7.7 Born at Lutton, in Lincolnshire, in 1606. Appointed, in 1640, Master of Westminster School, which he governed with proverbial severity. He died at the age of 89, in 1695, and was buried in Westminster Abbey (artiste anonyme)|Busby, Richard -- D.D., Master of Westminster School. On Canvas, 30 inches by 25. In gown and band 7l. 7s. i.e., £7.7 Born at Lutton, in Lincolnshire, in 1606. Appointed, in 1640, Master of Westminster School, which he governed with proverbial severity. He died at the age of 89, in 1695, and was buried in Westminster Abbey]] réalisée par un.e artiste anonyme au prix de 7.7 £. [451]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Brudenel, Thomas -- First Earl of Cardigan. On Canvas, 50 inches by 40. Habited in black, his gloves in his right hand, leaning by his left on a table. Finely painted 15l. i.e., £15.0 Originally from Weston-house, the seat of the Sheldon family (artiste anonyme)|Brudenel, Thomas -- First Earl of Cardigan. On Canvas, 50 inches by 40. Habited in black, his gloves in his right hand, leaning by his left on a table. Finely painted 15l. i.e., £15.0 Originally from Weston-house, the seat of the Sheldon family]] réalisée par un.e artiste anonyme au prix de 15.0 £. [454]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Boyle, John -- Earl of Corke and Orrery. On Canvas, 50 inches by 40 Painted in Kneller's style, attired in his robes, his hand resting on a coronet 6l. 6s. i.e., £6.6 John, Earl of Corke and Orrery, the only son and heir of Charles, fourth Earl of Orrery by Lady Elizabeth Cecil, daughter of John, Earl of Exeter, was born 2d January, 1706-7, and educated at Westminster school, from whence he was admitted, as a nobleman, at Christ Church College, Oxford. He married, May 9th, 1728, Lady Henrietta Hamilton, youngest daughter of George, Earl of Orkney, which marriage gave rise to much family dissention. By the death of Richard, Earl of Burlington and Corke, without male issue, he succeeded to the nobleman's Irish titles. In December 1754, he went to Italy, and resided nearly a year at Florence, where he collected materials for an intended history of Tuscany, in a series of letters, which he did not finish. He returned to England in 1755, where, having lost his second Lady, Margaret Hamilton, and his eldest son, Charles, Earl of Dungarvon, he died at Marston House, Somersetshire, in 1762 (Kneller)|Boyle, John -- Earl of Corke and Orrery. On Canvas, 50 inches by 40 Painted in Kneller's style, attired in his robes, his hand resting on a coronet 6l. 6s. i.e., £6.6 John, Earl of Corke and Orrery, the only son and heir of Charles, fourth Earl of Orrery by Lady Elizabeth Cecil, daughter of John, Earl of Exeter, was born 2d January, 1706-7, and educated at Westminster school, from whence he was admitted, as a nobleman, at Christ Church College, Oxford. He married, May 9th, 1728, Lady Henrietta Hamilton, youngest daughter of George, Earl of Orkney, which marriage gave rise to much family dissention. By the death of Richard, Earl of Burlington and Corke, without male issue, he succeeded to the nobleman's Irish titles. In December 1754, he went to Italy, and resided nearly a year at Florence, where he collected materials for an intended history of Tuscany, in a series of letters, which he did not finish. He returned to England in 1755, where, having lost his second Lady, Margaret Hamilton, and his eldest son, Charles, Earl of Dungarvon, he died at Marston House, Somersetshire, in 1762]] réalisée par Kneller au prix de 6.6 £. [456]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Blanch, Daughter of Henry IV, King of England. On Panel, 20 inches by 14. In carved frame, newly gilt 8l. 8s. i.e., £8.8 Married to Lewis Barbatus, Elector Palatine of Bavaria. As an early specimen of art, this picture is deserving of notice. To the antiquary it cannot fail of interest, from the costume it exhibits of that period (artiste anonyme)|Blanch, Daughter of Henry IV, King of England. On Panel, 20 inches by 14. In carved frame, newly gilt 8l. 8s. i.e., £8.8 Married to Lewis Barbatus, Elector Palatine of Bavaria. As an early specimen of art, this picture is deserving of notice. To the antiquary it cannot fail of interest, from the costume it exhibits of that period]] réalisée par un.e artiste anonyme au prix de 8.8 £. [458]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Blakeney, William -- Lord Blakeney, Ob. 1761, Æt. 91. G. Chalmers. On Canvas, 36 inches by 30. In carved open work gilt frame 8l. 8s. i.e., £8.8 Directing with his batôn the firing of the artillery, which so ably repulsed the attack on Minorca, of which place he was governor (G. Chalmers)|Blakeney, William -- Lord Blakeney, Ob. 1761, Æt. 91. G. Chalmers. On Canvas, 36 inches by 30. In carved open work gilt frame 8l. 8s. i.e., £8.8 Directing with his batôn the firing of the artillery, which so ably repulsed the attack on Minorca, of which place he was governor]] réalisée par G. Chalmers au prix de 8.8 £. [459]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Blake, Robert -- Admiral, temp. Commonwealth. On canvas, 30 inches by 25. In body armour, long hair, &c. 7l. 7s. i.e., £7.7 Born at Bridgewater, Somersetshire, in 1589. His first service at sea was the destroying Prince Rupert's fleet, in the port of Malaga, in 1649: in 1653 he cannonaded Tunis, burnt nine Turkish vessels, and, landing twelve hundred men, cut off three thousand Turks; from thence, sailing to Algiers and Tripoli, he made them deliver up all the English slaves. He died in 1657, and was interred with great funeral pomp in Henry the Seventh's Chapel, but removed from thence in 1661, and re-interred in St. Margaret's Churchyard (artiste anonyme)|Blake, Robert -- Admiral, temp. Commonwealth. On canvas, 30 inches by 25. In body armour, long hair, &c. 7l. 7s. i.e., £7.7 Born at Bridgewater, Somersetshire, in 1589. His first service at sea was the destroying Prince Rupert's fleet, in the port of Malaga, in 1649: in 1653 he cannonaded Tunis, burnt nine Turkish vessels, and, landing twelve hundred men, cut off three thousand Turks; from thence, sailing to Algiers and Tripoli, he made them deliver up all the English slaves. He died in 1657, and was interred with great funeral pomp in Henry the Seventh's Chapel, but removed from thence in 1661, and re-interred in St. Margaret's Churchyard]] réalisée par un.e artiste anonyme au prix de 7.7 £. [460]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Bertie, James, Lord Norris, Ætatis sua 17, 1670 -- Created Earl of Abingdon, 30 Nov. 1682, 34 Car. II. Kneller. On Canvas, 50 inches by 42. In armour. Carved frame, newly gilt 15l. 15s. i.e., £15.15 His Lordship married Eleanora, eldest daughter, and at last sole heir to Sir Henry Lee, of Ditchley, Co. Oxford. She died May 31, 1691. In 1698 he married Catherine, the widow of Richard Viscount Wenman. His Lordship died May 22, 1699 (Kneller)|Bertie, James, Lord Norris, Ætatis sua 17, 1670 -- Created Earl of Abingdon, 30 Nov. 1682, 34 Car. II. Kneller. On Canvas, 50 inches by 42. In armour. Carved frame, newly gilt 15l. 15s. i.e., £15.15 His Lordship married Eleanora, eldest daughter, and at last sole heir to Sir Henry Lee, of Ditchley, Co. Oxford. She died May 31, 1691. In 1698 he married Catherine, the widow of Richard Viscount Wenman. His Lordship died May 22, 1699]] réalisée par Kneller au prix de 15.15 £. [461]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Barrington, Samuel -- Admiral of the White, 1794. Sir Joshua Reynolds. On Canvas, 30 inches by 25, in naval costume 8l. 8s. i.e., £8.8 Appointed a Post Captain, 1747; Colonel of Marines, 1770; a Rear-Admiral, 1778; a Vice Admiral, 1782; Lieutenant-General of Marines, 1786; Admiral of the Blue Squadron, 1787; and Admiral of the White, 1794. He captured, in the course of his services, many French Ships of War, in single engagements, and among them the St. Florentin, of Sixty Guns, while Commander of the Achilles, of the same number, but with an inferior complement of men, after a long and severe action: but his country stands chiefly indebted to him for having saved the West India Islands in 1778, when threatened by the very superior force of the French fleet under M. D'Estaing. To this fleet, consisting of thirteen ships of the line and several frigates, Admiral Barrington had to oppose only four ships of the line, three of fifty guns, and three frigates; and yet the French Commander, after being repulsed in two unsuccessful attacks, did not venture a third. He also distinguished himself at Gibraltar, being second in command under Earl Howe. He died unmarried in 1800. (Sir Joshua Reynolds)|Barrington, Samuel -- Admiral of the White, 1794. Sir Joshua Reynolds. On Canvas, 30 inches by 25, in naval costume 8l. 8s. i.e., £8.8 Appointed a Post Captain, 1747; Colonel of Marines, 1770; a Rear-Admiral, 1778; a Vice Admiral, 1782; Lieutenant-General of Marines, 1786; Admiral of the Blue Squadron, 1787; and Admiral of the White, 1794. He captured, in the course of his services, many French Ships of War, in single engagements, and among them the St. Florentin, of Sixty Guns, while Commander of the Achilles, of the same number, but with an inferior complement of men, after a long and severe action: but his country stands chiefly indebted to him for having saved the West India Islands in 1778, when threatened by the very superior force of the French fleet under M. D'Estaing. To this fleet, consisting of thirteen ships of the line and several frigates, Admiral Barrington had to oppose only four ships of the line, three of fifty guns, and three frigates; and yet the French Commander, after being repulsed in two unsuccessful attacks, did not venture a third. He also distinguished himself at Gibraltar, being second in command under Earl Howe. He died unmarried in 1800.]] réalisée par Sir Joshua Reynolds au prix de 8.8 £. [463]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[The Same Anne, Queen of England. Wissing. On Canvas, 50 inches by 40. Painted when Princess, seated on a bank; Windsor Castle seen in the distance. Freely painted, and with considerable harmony of colour 8l. 8s. i.e., £8.8 Companion to the George, Prince of Denmark, in this Catalogue (Wissing)|The Same Anne, Queen of England. Wissing. On Canvas, 50 inches by 40. Painted when Princess, seated on a bank; Windsor Castle seen in the distance. Freely painted, and with considerable harmony of colour 8l. 8s. i.e., £8.8 Companion to the George, Prince of Denmark, in this Catalogue]] réalisée par Wissing au prix de 8.8 £. [466]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Andrews, Lancelot -- BP. of Winchester, 1618. On Canvas, 24 inches by 18. In lawn sleeves, &c. 5l. 5s. i.e., £5.5 Bp. Andrews, born in London, 1565; was one of those eminent Divines appointed by King James to revise and re-translate the English Bible. He died in 1626, and was buried in St. Saviour's Church, Southwark (artiste anonyme)|Andrews, Lancelot -- BP. of Winchester, 1618. On Canvas, 24 inches by 18. In lawn sleeves, &c. 5l. 5s. i.e., £5.5 Bp. Andrews, born in London, 1565; was one of those eminent Divines appointed by King James to revise and re-translate the English Bible. He died in 1626, and was buried in St. Saviour's Church, Southwark]] réalisée par un.e artiste anonyme au prix de 5.5 £. [468]
  • 1827.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Abdulguahid, Ambassador to England from Barbary, Anno 1600. On Panel, 42 inches by 36. In Moorish costume, finely painted 6l. 6s. i.e., £6.6 This picture, inscribed "1600, ABDULGVAHID ÆTATIS 42, LEGATUS REGIS BARBARIÆ IN ANGLIAM," is contemporary with that period, and the production of an English artist. Recently from Sir William Smith's Collection, at Hill-Hall, Essex (English)|Abdulguahid, Ambassador to England from Barbary, Anno 1600. On Panel, 42 inches by 36. In Moorish costume, finely painted 6l. 6s. i.e., £6.6 This picture, inscribed "1600, ABDULGVAHID ÆTATIS 42, LEGATUS REGIS BARBARIÆ IN ANGLIAM," is contemporary with that period, and the production of an English artist. Recently from Sir William Smith's Collection, at Hill-Hall, Essex]] réalisée par English au prix de 6.6 £. [470]
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