Antique Elizabeth

Marble topped centre table in the elizabethan style.

Victorian ebonised and marble topped centre table. The gadrooned and moulded edge sitting on decorative base. Untouched original condition. circa.1860

London 1802 solid silver sherry decanter label by Elizabeth Morley, female silversmith.

London 1802, English George III period hallmarked solid silver sherry label or bottle ticket, made unusually by a female silversmith, Elizabeth Morley. In the Georgian period, that was very rare, as silversmithing was a male dominated occupation. Having cut cornered shape with thread edge, and original chain. A lovely label in very good condition with clear hallmarks.

Portrait of Elizabeth Pope, Countess of Lindsey c.1695; Circle of Kneller

A good quality and expressively painted portrait thought to be of the Countess of Lindsey in her State robes; the style is very much that of Sir Godfrey Kneller and clearly painted by a talented artist, possibly a member of Kneller's Studio. The handling of the skin tones in particular is very sensitive. Although the sitter is depicted in her most formal clothing the artist presents her as a person, not as an icon or symbol. The face is not a mere mask, but conveys intelligence and a hint of good humour. ELIZABETH POPE (born c.1640, died 1719) a Catholic and daughter of the 2nd Earl of Downe, had married as her first husband Sir Henry Francis Lee, who died in 1667. Her second husband, whom she married sometime between 1669 and 1671, was Robert Bertie, 3rd Earl of Lindsey; she was his third wife. This marriage marked a significant rise in her status and fortunes. Her new husband was hereditary Lord Great Chamberlain and was made a Gentleman of the Bedchamber to the King, and Elizabeth herself was made a Lady of the Bedchamber to the Queen in 1676. Several years earlier her son by her first husband had been married to Lady Charlotte Fitzroy, illegitimate daughter of Charles II and Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland. SIR GODFREY KNELLER (1646 - 1723) was the most profound influence on late 17th and 18th c. portraiture. By 1679 he had painted the King and remained the most famous and successful portrait painter in England; in 1688 he was appointed Principal Painter to the King. His work was so in demand he could not keep up with it alone, so he maintained a busy studio, employing many talented artists as his assistants. Many of this assistants went on to found their own successful studios. Kneller's influence on portraiture in the 18th century cannot be overestimated as many copied his style....with varying degrees of success. Oil on canvas in modern giltwood frame. SIZE: 48 x 39.5 inches inc. frame PROVENANCE: Private Collection, Sussex. A similar portrait of the Countess, by Kneller, has descended through the Bertie family at Grimsthorpe Castle, Lincolnshire. This portrait is illustrated p.200 of 'Painted Ladies. Women at the Court of Charles II' published by the National Portrait Gallery, 2001.

ELIZABETH ROYAL DOULTON

ELIZABETH STUNNING ROYAL DOULTON FIGURINE

Portrait of a Noblewoman c.1600-1620: English School

Oil on canvas in reproduction 'cassetta' frame. This extremely high quality portrait depicts an aristocratic lady of mature years, a coat of arms to her right. The lady stands directly facing the viewer, her expression and gaze confident; this 'full frontal' pose was, at this time, usually reserved for men of power and thus makes a considerable statement as to the prestige and status of the sitter. Her clothing, with the hugely expensive 'reticella' lace, elaborate embroidery and princely display of jewels, demonstrates vast wealth. This portrait is a symbol of power for an independently minded woman - yet the image is not a mere icon. There is humour and good nature to the face...as well as a strong sense of an autocratic will. Although the names of sitter and artist are as yet unknown this is a fine portrait of a noblewoman in the mould of Elizabeth l and Bess of Hardwick.. a strong, powerful woman succeeding in a man's world. SIZE: 38 x 32.75 inches inc. frame. PROVENANCE: Private Collection, Edinburgh for the last 30 years. (Bought by the previous owners in Surrey in 1977)

Elizabeth O'Neill Verner Etching

This is a fantastic etching by the renowned American artist Elizabeth O'Neill Verner. It is signed and titled in pencil at the bottom of the image and is within a nice mount and gold frame. The subject is Philadephia Stree, Charleston USA. The artist has a gallery named after her in Charleston and this is an excellent example of her work. Image size: 24 cms x 18 cms.

Jacobean oak boarded chest c.1605

An interesting and unusual oak boarded chest of the reign of James I. At first glance it seems as if it is an early box on a later stand, but the sides run all the way down to the ground as solid planks; and the curvature and decoration of the supports is typical of the early date.The plinth running around the box is a later Georgian addition. The feet, probably replacing damp rotted timber, are also Georgian and probably date from the time when the box was 'modernised' by the addition of the Late Georgian plinth. The front of the chest is scratched or scribed out in an elaborate decorative scheme using the Romanesque arch motif fashionable at the time. This may have been meant to be carved out and never was, or perhaps the scribing was once coloured in with paint; much early furniture did have colour applied...now nearly always lost. Size: 31 inches tall, 43 inches wide, 26.4 inches deep. Condition: Good; some alterations as listed above; good deep colour. Provenance: a Yorkshire Private Collection

Silver fiddle pattern Vic saltspoon Elizabeth Eaton

An early Victorian fiddle pattern saltspoon by a well-known lady silversamith Elizabeth Eaton. Hallmarked for 1839 with excellenthallmarks. Rubbed originasl crest of an arm holding a bow & arrow engraved on the front of the handle. Length 4.25ins (10.7cms)

BOWES-LYON, THE LADY ELIZABETH (1900 -2002)

The Queen Mother, Queen consort of Great Britain.

image date: 1923

image size: 7¾in/19.7cm high x 5¾in/14.6cm wide.

Full condition report on request.

all images shown on this website are digitally tagged against copyright violation.

Portrait of a Lady c.1628; attributed to Cornelis de Vos

Oil on oak panel in fine 18th c. carved and giltwood frame. A superb portrait typical of de Vos's style, the brushwork detailed, sensitive and rich in nuances, his colouring is ardent and full-bodied in the Flemish manner. His portraits glow with an air of prosperity and well-being. De Vos was well-known for dignified portraits which nevertheless maintain a charming modesty, as is seen here. The reserved expression of the sitter and meticulous handling of the costume details are characteristic. CORNELIS DE VOS (1585 - 1651) was admitted as a Master of the Antwerp Guild in 1606. In the early 17th century Antwerp was crowded with excellent painters. The art-loving wealthy merchants of the great trading city were able to employ a sizeable population of artists, who were also kept busy by the foreign demand for works of art from Antwerp. Cornelis de Vos became one of the most respected artists in the city, whilst also active as an art dealer. He worked with Rubens and Van Dyck, and his work has been mistaken for theirs, although his portraits are more closely dependent on the Flemish tradition than his celebrated Italianate colleagues. Essentially of the School of Rubens, de Vos's portraits developed an individual and successful style and Rubens sent many sitters to him. SIZE: 30 x 26 inc. frame. PROVENANCE: Verso: an old collection seal in red wax, probably 18th century. Private Collection, Cornwall. Boarsney House, Sussex.

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