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Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.
Roy Precious - Antiques & Fine Art
for sale €6,962     $7,557
£5,950
Roy Precious - Antiques & Fine Art

Roy Precious - Antiques & Fine Art

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    Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.
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Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

18th century
Description

Oil on canvas in a good period carved and giltwood frame.

Thought to be a member of the Haworth family of Yorkshire, the young sitter is depicted in a rakish and stylish pose, his blue garments extremely fashionable in colour and cut.

The artist, as yet unidentified, clearly had great painterly pleasure in the use of the medium. The brush strokes have a real bravura quality which brings the material to life. Strongly influenced by Jonathan Richardson, the artist is not slavish in his style, but brings to it his own powerful presence.

The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.

The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths. Like the aristocracy these wealthy merchants married within their peers, always with an eye on increasing their wealth and power.

JONATHAN RICHARDSON Snr (c1665 - 1745) was the leading native-born portrait painter of the first forty years of the century. He and Jervas were in rivalry with Kneller and Dahl. Jervas excelled with women's portraits Richardson was best with men, working almost entirely as a portrait-painter in London.

Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.

SIZE: 43.5 x 35 inches inc. frame.

PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.

Physical Dimensions
Height
110cm (43.31")
Width
89cm (35.04")
Depth
4cm (1.57")
Declaration

Roy Precious - Antiques & Fine Art has dated this Georgian Oil Portrait Painting to the 18th Century.

Reference Numbers
Sellingantiques Reference
SA451156
Dealers Internal Reference
8997
Description
Oil on canvas in a good period carved and giltwood frame.
Thought to be a member of the Haworth family of Yorkshire, the young sitter is depicted in a rakish and stylish pose, his blue garments extremely fashionable in colour and cut.
Roy Precious - Antiques & Fine Art
fig 1. An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
fig 1. Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

The artist, as yet unidentified, clearly had great painterly pleasure in the use of the medium. The brush strokes have a real bravura quality which brings the material to life. Strongly influenced by Jonathan Richardson, the artist is not slavish in his style, but brings to it his own powerful presence.

fig 2. An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
fig 2. Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.

The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths. Like the aristocracy these wealthy merchants married within their peers, always with an eye on increasing their wealth and power.

fig 3. An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
fig 3. Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

JONATHAN RICHARDSON Snr (c1665 - 1745) was the leading native-born portrait painter of the first forty years of the century. He and Jervas were in rivalry with Kneller and Dahl. Jervas excelled with women's portraits Richardson was best with men, working almost entirely as a portrait-painter in London.

fig 4. An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
fig 4. Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

fig 5. An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
fig 5. Portrait of a Member of the Haworth Family C.1725; Circle of Jonathan Richardson.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.

SIZE: 43.5 x 35 inches inc. frame.

PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.

Height
110cm (43.31")
Width
89cm (35.04")
Depth
4cm (1.57")
Date of Manufacture

Roy Precious - Antiques & Fine Art has dated this Georgian Oil Portrait Painting to the 18th Century.

Reference Numbers
Sellingantiques Ref
SA451156
Dealers Internal Ref
8997
Roy Precious - Antiques & Fine Art
Roy Precious - Antiques & Fine Art
Sellingantiques verified Since Mar 2003

Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.

Dealer Profile

You can view the stock and full dealer information on the Roy Precious - Antiques & Fine Art Profile Page

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An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
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Archive I An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.

Portrait of a Member of the Haworth Family c.1725; Circle of Jonathan Richardson.

Archive II An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View II
Archive III An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View III
Archive IV An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View IV
Archive V An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View V
Archive VI An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View VI
Archive VII An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame. View VII
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Roy Precious - Antiques & Fine Art
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An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
Portrait of a Member of the Haworth Family c.1725; Circle of Jonathan Richardson.
Ref: SA451156
An early 18th-century oil portrait of a gentleman in a blue velvet coat and powdered wig, set in a gilded carved wood frame.
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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.

British portraiture of the early 18th century, particularly during the Georgian era, emphasized formal composure, status, and realistic detail in drapery and costume. Artists often depicted subjects in powdered wigs, velvet coats, and cravats against darkened, painterly backdrops.

Portraits from this era were created using oil paint composed of natural pigments and linseed oil applied to hand-stretched linen or cotton canvas. Frames were typically hand-carved from wood and finished with gold leaf gilded surfaces.

Authentic paintings from this period exhibit natural craquelure consistent with age, stretcher bar marks, oxidized canvas or wooden stretchers, and traditional joinery. The gilded frame will often show underlying red or dark bole beneath worn gold leaf.

A historical oil portrait creates visual contrast when hung above modern sideboards or in minimalist spaces. Pairing traditional art with contemporary furnishings highlights the historical texture and deep colour palette of the artwork.

Keep the canvas away from direct sunlight, moisture, and intense heat sources to prevent cracking or warping. Dust gently with a soft dry brush and avoid liquid cleaners, reserving restoration for professional conservators.
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