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Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School
Cheshire Antiques Consultant Ltd
for sale €6,903     $7,493
£5,900
Cheshire Antiques Consultant Ltd

Cheshire Antiques Consultant Ltd

Sellingantiques Verified Since Jan 2021
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Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

19th century
Description

Circle of William Egley (1798–1870), English School

Subject & Medium

Circle of William Egley (1798–1870), English School

Watercolour and gouache on paper laid on panel.

An exceptionally refined family portrait showing the three daughters of Louisa Charlotte Devonsher (née Cooke, 1797–1871), the only child of Captain John Cooke, RN, one of the two British captains killed at the Battle of Trafalgar. Almost certainly painted for the family home, Donhead Lodge, Donhead St Andrew, Wiltshire, it is both an intimate record of domestic affection and a visual monument to one of Britain’s great naval heroes.

Composition & Technique

The three girls are gracefully arranged around a richly carved mahogany scroll-back sofa upholstered in rose-crimson damask, their poses forming a harmonious triangular composition.

The youngest child, about three years old, sits at the centre on the sofa cushion, her rounded features and deeper cornflower-blue gown suggesting tender youth and spontaneity. To the left, a sister of nine or ten sits demurely, hands folded in her lap, her dress a paler sky-blue; to the right, the eldest (around eleven or twelve) stands easily but proudly at the sofa arm in a more saturated periwinkle tone, her posture quietly authoritative.

All three wear pale blue silk gowns trimmed with fine white lace. The two elder sisters are adorned with blue ribbon chokers bearing small gold lockets and coral bead bracelets, while the youngest, unadorned, embodies the ideal of unspoiled childhood. Each girl holds a blush-pink rose, petals shaded from shell pink to soft carmine; these roses echo the crimson upholstery and rhythmically tie the colour scheme together.

Executed in transparent watercolour with delicate gouache heightening, the artist has modelled the faces with translucent pinks and warm ochres, and the hair in chestnut and golden curls. The neutral brown-grey ground is almost abstract in its simplicity, pushing the figures gently forward and bathing them in a soft, natural light. The handling is confident yet restrained – a textbook example of the English provincial watercolour school at the transition from the late Regency to the early Victorian period.

About the Sitters & Captain John Cooke

The sitters are identified as the three daughters of Louisa Charlotte Devonsher (née Cooke) and her husband Abraham Devonsher of Cheltenham:

Louisa Cornelia Devonsher (b. c.1822; later Mrs Edward Helsham)

Augusta Sarah Devonsher (b. c.1823; later Mrs Edward Rolles)

Sophia Margaret Devonsher (b. c.1830; later Mrs Robert Dwarris Gibney)

Through their mother, these girls were the granddaughters and only direct descendants of Captain John Cooke, RN (1762–1805) and his wife Louisa Hardy (1764–1853).

Born in Devon to a family of landowners and shipowners, John Cooke entered the navy under the patronage of Sir Alexander Hood and was educated at Mr Braken’s Naval Academy, Greenwich. He saw service in the American War of Independence (including the Battles of Rhode Island and the Saintes), and in the French Revolutionary Wars commanded the frigates HMS Nymphe and HMS Amethyst.

In 1805 he was appointed to the 74-gun HMS Bellerophon. At Trafalgar, on 21 October 1805, Cooke fought a fierce close-quarters action with the French Aigle and was mortally wounded by musket fire. He reputedly gave the defiant order “Don’t strike the colours” as he fell – a phrase that passed into naval legend. When his body was searched, an unsent letter was found in his pocket, affectionately mentioning his young daughter Louisa Charlotte and the family dog, Mr Quiz – a fragment of domestic tenderness preserved amid the carnage of battle.

In recognition of his sacrifice, Lloyd’s Patriotic Fund presented his widow Louisa Hardy Cooke with a large silver vase and a pension of £200 per annum, while Louisa Charlotte received a gold medal and a pension of £50 pe

Physical Dimensions
Height
38cm (14.96")
Width
42cm (16.54")
Depth
2.5cm (0.98")
Declaration

Cheshire Antiques Consultant Ltd has dated this Antique Watercolour Portrait Painting to the 19th Century.

Reference Numbers
Sellingantiques Reference
SA1180810
Dealers Internal Reference
752
Dealers Notes

Delivery shipping information

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Description
Circle of William Egley (1798–1870), English School

Subject & Medium

Circle of William Egley (1798–1870), English School

Watercolour and gouache on paper laid on panel.

An exceptionally refined family portrait showing the three daughters of Louisa Charlotte Devonsher (née Cooke, 1797–1871), the only child of Captain John Cooke, RN, one of the two British captains killed at the Battle of Trafalgar. Almost certainly painted for the family home, Donhead Lodge, Donhead St Andrew, Wiltshire, it is both an intimate record of domestic affection and a visual monument to one of Britain’s great naval heroes.

fig 1. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 1. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

Composition & Technique

The three girls are gracefully arranged around a richly carved mahogany scroll-back sofa upholstered in rose-crimson damask, their poses forming a harmonious triangular composition.
Cheshire Antiques Consultant Ltd
fig 2. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 2. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

The youngest child, about three years old, sits at the centre on the sofa cushion, her rounded features and deeper cornflower-blue gown suggesting tender youth and spontaneity. To the left, a sister of nine or ten sits demurely, hands folded in her lap, her dress a paler sky-blue; to the right, the eldest (around eleven or twelve) stands easily but proudly at the sofa arm in a more saturated periwinkle tone, her posture quietly authoritative.

fig 3. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 3. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

All three wear pale blue silk gowns trimmed with fine white lace. The two elder sisters are adorned with blue ribbon chokers bearing small gold lockets and coral bead bracelets, while the youngest, unadorned, embodies the ideal of unspoiled childhood. Each girl holds a blush-pink rose, petals shaded from shell pink to soft carmine; these roses echo the crimson upholstery and rhythmically tie the colour scheme together.

fig 4. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 4. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

Executed in transparent watercolour with delicate gouache heightening, the artist has modelled the faces with translucent pinks and warm ochres, and the hair in chestnut and golden curls. The neutral brown-grey ground is almost abstract in its simplicity, pushing the figures gently forward and bathing them in a soft, natural light. The handling is confident yet restrained – a textbook example of the English provincial watercolour school at the transition from the late Regency to the early Victorian period.

fig 5. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 5. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

About the Sitters & Captain John Cooke

The sitters are identified as the three daughters of Louisa Charlotte Devonsher (née Cooke) and her husband Abraham Devonsher of Cheltenham:

Louisa Cornelia Devonsher (b. c.1822; later Mrs Edward Helsham)

fig 6. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 6. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

Augusta Sarah Devonsher (b. c.1823; later Mrs Edward Rolles)

Sophia Margaret Devonsher (b. c.1830; later Mrs Robert Dwarris Gibney)

Through their mother, these girls were the granddaughters and only direct descendants of Captain John Cooke, RN (1762–1805) and his wife Louisa Hardy (1764–1853).

fig 7. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 7. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

Born in Devon to a family of landowners and shipowners, John Cooke entered the navy under the patronage of Sir Alexander Hood and was educated at Mr Braken’s Naval Academy, Greenwich. He saw service in the American War of Independence (including the Battles of Rhode Island and the Saintes), and in the French Revolutionary Wars commanded the frigates HMS Nymphe and HMS Amethyst.

fig 8. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 8. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

In 1805 he was appointed to the 74-gun HMS Bellerophon. At Trafalgar, on 21 October 1805, Cooke fought a fierce close-quarters action with the French Aigle and was mortally wounded by musket fire. He reputedly gave the defiant order “Don’t strike the colours” as he fell – a phrase that passed into naval legend. When his body was searched, an unsent letter was found in his pocket, affectionately mentioning his young daughter Louisa Charlotte and the family dog, Mr Quiz – a fragment of domestic tenderness preserved amid the carnage of battle.

fig 9. An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
fig 9. Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

In recognition of his sacrifice, Lloyd’s Patriotic Fund presented his widow Louisa Hardy Cooke with a large silver vase and a pension of £200 per annum, while Louisa Charlotte received a gold medal and a pension of £50 pe

Height
38cm (14.96")
Width
42cm (16.54")
Depth
2.5cm (0.98")
Date of Manufacture

Cheshire Antiques Consultant Ltd has dated this Antique Watercolour Portrait Painting to the 19th Century.

Reference Numbers
Sellingantiques Ref
SA1180810
Dealers Internal Ref
752
Cheshire Antiques Consultant Ltd
Cheshire Antiques Consultant Ltd
Sellingantiques verified Since Jan 2021

Source the historic in 17th, 18th, 19th & 20th century fine arts, painting, sculptures & collectibles

Dealer Profile

You can view the stock and full dealer information on the Cheshire Antiques Consultant Ltd Profile Page

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An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
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Archive I An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.

Painting Louisa Cooke’s Three Daughters, C.1833 circle of William Egley (1798–1870), English School

Archive II An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View II
Archive III An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View III
Archive IV An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View IV
Archive V An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View V
Archive VI An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View VI
Archive VII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View VII
Archive VIII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View VIII
Archive IX An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View IX
Archive X An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View X
Archive XI An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XI
Archive XII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XII
Archive XIII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XIII
Archive XIV An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XIV
Archive XV An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XV
Archive XVI An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XVI
Archive XVII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XVII
Archive XVIII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XVIII
Archive XIX An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XIX
Archive XX An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XX
Archive XXI An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXI
Archive XXII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXII
Archive XXIII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXIII
Archive XXIV An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXIV
Archive XXV An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXV
Archive XXVI An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXVI
Archive XXVII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXVII
Archive XXVIII An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXVIII
Archive XXIX An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXIX
Archive XXX An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount. View XXX
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Cheshire Antiques Consultant Ltd
Cheshire Antiques Consultant Ltd
Verified Since Jan 2021
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Location: 71-75 Shelton Street, Covent Garden, London, WC2H 9JQ, United Kingdom, , By appointment
Verified
Jan 2021
For Sale
250
Sold
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An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
Painting Louisa Cooke’s Three Daughters, c.1833 Circle of William Egley (1798–1870), English School
Ref: SA1180810
An antique 1830s watercolour painting depicting three young girls in blue dresses, set within a carved giltwood frame with a dark mount.
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Every single antique dealer on our platform is individually approved by our internal team. We verify their professional trade history, ethical standards, and photographic quality to ensure a secure, high-standard buying environment. Upon joining, every dealer agrees to a strict 9-point code of conduct. While issues can occasionally arise, our dealers typically resolve them swiftly and directly with the buyer. In fact, since our founding in 2002, Sellingantiques has only had to step in to help resolve an issue on roughly five occasions—a true testament to the quality of our dealers and their dedication to your happiness.
Our dealers are highly experienced in packing and shipping fragile, high-value antiques. Because you are in direct contact with the dealer, you will be able to easily go through all available shipping and insurance options together to ensure your item arrives safely.
Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Nineteenth-century British portraiture encompasses small-scale watercolours, miniatures, and oil paintings created to document families and prominent figures. During the 1830s, artists frequently captured sitters in domestic interiors with detailed clothing and period furniture.

Watercolour paintings from this period were typically executed on heavy woven paper or card using natural pigments bound with gum arabic. Works were routinely mounted under protective glass within hand-carved and gilded wooden frames.

Authentic period portraits feature historical fashion details, such as period-accurate dresses and hairstyles from the 1830s. Examination of natural paper aging, foxing, period-appropriate joinery in the frame, and original backing materials also assists in authentication.

Position an antique portrait as a central focal point above a mantelpiece or integrate it into a curated gallery wall alongside contrasting artwork. Ensure it is placed away from direct light sources to protect the delicate pigments while highlighting the detailed giltwood frame.

Store and display watercolour paintings in climate-controlled environments away from direct sunlight, high humidity, and heat sources to prevent pigment fading and paper decay. Frame the artwork behind UV-filtering glass using acid-free mounting materials.
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