@philip_mould_gallery - Philip Mould & Company

Pall Mall based art dealership est. 1985. Specialising in 500 years of #britishart
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This portrait [previously with the gallery] shows Dorothy Latimer, wife of Thomas Cecil, 1st Earl of Exeter (1542-1623), a celebrated courtier and soldier. As a member of one of the most powerful and important Elizabethan families, Dorothy Latimer would have been at the centre of aristocratic and court life. She is shown holding a pendant, and dressed in a relatively austere black gown with white lace sleeves, and a richly jewelled headdress. The pendant shows Perseus holding the head of Medusa, a depiction which most likely pays homage to Elizabeth I’s ‘slaying’ of the Papacy and Catholicism in England (a similarly used image was Judith holding the head of Holofernes). The portrait is painted with great finesse and detail, and is in unusually good condition. The transparency of the lace sleeves, always a sign of the expense of the fabric, is delicately rendered, as is the scroll-like detailing in the bottom of the black dress (again a sign of wealth, black dye being among the most expensive). Visible under-drawing shows that the face was first drawn freehand onto the panel, while the subtle lighting of the cool grey background behind the head helps project the sitter towards the viewer. The picture is signed and dated in monogram in the top right hand corner, something very rarely seen in the sixteenth century. ‘IHB.F’ must stand for Johannes Bettes Fecit. #TudorTuesdays #Cecil #TudorPortrait #Elizabethan #Pendant #Perseus #Medusa #JudithHolofernes #OldMasters
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This portrait [previously with the gallery] shows Dorothy Latimer, wife of Thomas Cecil, 1st Earl of Exeter (1542-1623), a celebrated courtier and soldier. As a member of one of the most powerful and important Elizabethan families, Dorothy Latimer wo

The sitter shown here in a portrait detail by John Bettes the Younger (d. 1616) [previously with the gallery], is Dorothy Latimer, wife of Thomas Cecil, 1st Earl of Exeter (1542-1623), a celebrated courtier and soldier. As a member of one of the most powerful and important Elizabethan families, Dorothy Latimer would have been at the centre of aristocratic and court life. While Dorothy’s father, John, 4th Baron Latimer, was an entirely undistinguished and violent figure, Dorothy came from one of the most prominent English families, the Neville’s. Katherine Parr had been married to her grandfather before marrying Henry VIII. She was therefore described as ‘a good match’ for Thomas Cecil when she married him in 1564 – the Cecils then being seen as rather arriviste – and as ‘very wise, sober of behaviour and womanly’. #DorothyLatimer #Elizabethan #Tudor #Portrait #HenryVIII #KatherineParr #Ruff #HistoricFashion
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The sitter shown here in a portrait detail by John Bettes the Younger (d. 1616) [previously with the gallery], is Dorothy Latimer, wife of Thomas Cecil, 1st Earl of Exeter (1542-1623), a celebrated courtier and soldier. As a member of one of the most

The main focal point in this portrait detail painted in 1596 is the lady, who is shown is her finest attire and bedecked in exquisite jewellery. The broad lace ruff with intricate lace edging worn around her neck was the height of fashion when this work was painted and was an expensive but necessary accessory for a wealthy lady. Our subject’s hair is worn up and is decorated with three delicate jewels, one in the shape of a flower and the other two of a circular design with a star at the centre. They are made of gold and inset with precious stones including diamonds and garnets with pearls hanging beneath. A long string of pearls can be seen wrapped around the lady’s neck and from the centre hangs a gold pendant engraved with what appears to be a phoenix, symbolic of longevity, endurance and chastity – an appropriate statement in a portrait celebrating marriage. The symbolism associated with a phoenix would have been well-known to the contemporary viewer of this work given its repeated use by Queen Elizabeth I as a symbol of the strength and regeneration of the Tudor dynasty. #Tudor #Portrait #ArtHistory #Jewellery #Wealth #QueenElizabethI #Ruff #britishportraiture #historicfashion #historicstyle #necklace #earrings #beauty #lady
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The main focal point in this portrait detail painted in 1596 is the lady, who is shown is her finest attire and bedecked in exquisite jewellery. The broad lace ruff with intricate lace edging worn around her neck was the height of fashion when this w

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This rare late-Tudor double portrait (detail shown here) was painted in 1596 and shows a gentleman and a lady – presumably a husband and wife – in their finest dress. Portraits were often commissioned to celebrate certain events in a person’s life and it seems likely that our work was painted to celebrate the marriage of the two subjects portrayed. The well-dressed lady stands almost face-on to the viewer whilst the gentleman is turned towards her, his left shoulder tucked behind her right arm. The composition is one of affection combined with a seriousness of purpose – marriage during this period was as much about social mobility and financial security as it was about love and friendship. #TudorPortrait #MarriagePortrait #EnglishSchool #1596 #Tudor #OldMasters #HusbandAndWife #FineDress #HistoricFashion #TudorDress
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NEW TO THE WEBSITE… This rare late-Tudor double portrait (detail shown here) was painted in 1596 and shows a gentleman and a lady – presumably a husband and wife – in their finest dress. Portraits were often commissioned to celebrate certain events i

Shown here, an exquisite detail from a double portrait of a Lady and Gentleman painted in England in 1596, during the reign of Queen Elizabeth I. The commissioning of a portrait in the Tudor period was a good opportunity to display in an outward manner one’s affluence and fine taste. Portraits were often commissioned to celebrate certain events in a person’s life and it seems likely that our work was painted to celebrate the marriage of the two subjects portrayed. The lady, whose dress and fineries are depicted here are of the best quality and are extremely ornamented which would have undoubtedly been perceived as a communication of the sitter’s position within Tudor high society. As to be expected in a portrait from this date, the couple shown here do not hesitate to remind the viewer of their wealth and good taste through the clothing they wear. The broad lace ruff with intricate lace edging worn around her neck was the height of fashion when this work was painted and was an expensive but necessary accessory for a wealthy lady. #Tudor #Portrait #Decorative #Ruff #TudorPortrait ~ElizabethI #Fashion #HistoricFashionTrends #Ornament #Wealth #BritishPortraiture #16thCenturyArt #OldMasters #EnglishSchool #1596
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Shown here, an exquisite detail from a double portrait of a Lady and Gentleman painted in England in 1596, during the reign of Queen Elizabeth I. The commissioning of a portrait in the Tudor period was a good opportunity to display in an outward mann

Emma Stone and an English School portrait (previously with Philip Mould & Company) of Abigail Hill Lady Masham, the cousin of the Duchess of Marlborough and the supplanter of the Duchess in the affections and household of Queen Anne. Lady Masham was the daughter of a Levant merchant who had ruined himself through imprudent specualtion, but she was also cousin to Sarah Jennings Duchess of Marlborough by whom she was introduced to Court in 1704. Gradually her agreeable disposition became a greater and greater contrast to and relief from the demands of the Duchess of Marlborough, and she began to gain in influence. The Queen considered her one of her favourites, and was present at her marriage in 1707 to Samuel - later created Lord — Masham in 1707. The Duchess was said to be horrified that her ''cousin was become an absolute favourite #The FavouriteMovie #TheFavourite #Favourite #EmmaStone #AbigailHill #LadyMasham #QueenAnne #Court #RachelWeisz #OliviaColman #EnglishPortrait #Portraiture @thefavouritemovie @bafta
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Emma Stone and an English School portrait (previously with Philip Mould & Company) of Abigail Hill Lady Masham, the cousin of the Duchess of Marlborough and the supplanter of the Duchess in the affections and household of Queen Anne. Lady Masham was

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Yorgos Lanthimos’ film ‘The Favourite’ stars Olivia Colman as Queen Anne. The accession of Queen Anne in 1702 was seen by many as a moment of particular national pride and hope. Detractors of William III were swift to point out that she was an Englishwoman where he was a foreigner (in Lilly’s portrait here Anne is placed beneath a large roundel of Britannia), and - which no English sovereign had been since Elizabeth I - the child of two native-born parents. This portrait detail, shown here in comparison with Colman’s portrayal of the monarch, is by Queen Anne’s favourite court painter Edmund Lilly and is one of the most impressively regal depictions of her. As a full-length state portrait, most likely intended for some form of public use, the Queen is surrounded by the regalia of monarchy. Set in a finely rendered architectural setting in which a canopied throne can be seen in the background, Anne bears a greater Garter ‘George’ around her neck, and with her left hand holds the orb from the crown jewels, which is placed on a velvet cushion next to the sceptre and St Edward’s Crown, the crown still used for coronations today. @thefavouritemovie #TheFavouriteMovie #TheFavourite #Film #OliviaColman #EdmundLilly #HistoricalPortrait #QueenAnne #Monarch #Royal
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Yorgos Lanthimos’ film ‘The Favourite’ stars Olivia Colman as Queen Anne. The accession of Queen Anne in 1702 was seen by many as a moment of particular national pride and hope. Detractors of William III were swift to point out that she was an Englis

With the success of ‘The Favourite’ we thought it would be interesting to see how the three-main actors in the film might have taken some inspiration from their historical counterparts. Starting with Rachel Weisz’s portrayal of Sarah Churchill, Duchess of Marlborough and a detail from Maria Verelst’s portrait of the Duchess (c. 1710-20) [previously with Philip Mould & Company]. Sarah Churchill’s rise at court was meteoric. A shrewd politician, he positioned himself to gain a peerage from James II before abandoning him in favour of Prince William of Orange (1650-1702), who, following the success of the Glorious Revolution of 1688, replaced the Catholic James to become the new, emphatically Protestant King of England. For his loyalty, William rewarded Churchill by making him Earl of Marlborough. Marlborough and Sarah were well matched both in their ambition and in their political alacrity. In tandem to Marlborough’s rise, Sarah had shrewdly befriended James’s daughter by his first, Protestant wife, Anne (1665-1714). Sarah earned an astonishing amount of money for her day; from her various royal appointments alone, which included mistress of the robes and ranger of Windsor Park, she received in excess of £6,000 per annum. All of her assets she managed independently of her husband through trustees. Sarah’s power and status were reflected in the magnificence of Blenheim Palace, which under her watchful eye was constructed between 1705 and 1722, one of the outstanding examples of English Baroque architecture. #TheFavourite #TheFavouriteMovie #TheFavouriteFilm #RachelWeisz #SarahChurchill #DuchessMarlborough #Blenheim #MariaVerelst @thefavouritemovie @bafta
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With the success of ‘The Favourite’ we thought it would be interesting to see how the three-main actors in the film might have taken some inspiration from their historical counterparts. Starting with Rachel Weisz’s portrayal of Sarah Churchill, Duche

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A recent addition to the gallery, which has recently sold, of a fine portrait miniature by Christian Friedrich Zincke (1684? -1767) coincides with the release of the Bafta Nominated film ‘The Favourite’ which centres around a love-battle for the Queen’s favour among Anne’s closest confidents at court, Sarah Churchill and Abigail Hill. The portrait depicts Sarah Churchill, Duchess of Marlborough (1660-1744), wearing black dress over white underdress, a black veil covering her blonde hair, and was painted in c. 1722. Following her appointments, first, as a lady of the bedchamber and, then, as Anne’s Groom of the Stool, Sarah obtained an emotional (and physical) proximity to Anne that few could rival. Anne came to be dependent on Sarah, turning to her for advice and counsel. Indeed, so strong was their bond that Anne fell profoundly in love with Sarah. #TheFavouriteMovie #TheFavouriteFilm #TheFavourite #RachelWeisz #OliviaColman #EmmaStone #Zincke #Miniature #SarahChuchill #DuchessOfMarlborough #Duchess #Portrait #LoveTriangle
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A recent addition to the gallery, which has recently sold, of a fine portrait miniature by Christian Friedrich Zincke (1684? -1767) coincides with the release of the Bafta Nominated film ‘The Favourite’ which centres around a love-battle for the Quee

This portrait bust was commissioned by Auriol Salaman, Dobson’s studio assistant at Manresa Road in Chelsea. It is the second, more highly finished and more sumptuous version of this composition, the first of which was executed in 1934 in terracotta. Auriol Salaman was born in 1912, the daughter of Elkin Josiah Salaman, whose father had been a wealthy merchant dealing in ostrich feathers. Auriol’s uncle, Redcliffe Nathan Salaman, was the well-known geneticist and Jewish activist and her sister, Peggy Salaman, ‘a first-rate pilot’, beat the world record for flying a light aeroplane from London to Cape Town in six days in 1931. #FrankDobson #AuriolSalaman #Sculpture #bust #Head #ModernBritishSculpture #20thCenturyArt #FineArt #Portrait #Woman #ForSale
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This portrait bust was commissioned by Auriol Salaman, Dobson’s studio assistant at Manresa Road in Chelsea. It is the second, more highly finished and more sumptuous version of this composition, the first of which was executed in 1934 in terracotta.

Li Xiangqun is one of China’s leading figurative sculptors and was born in Harbin, Heilongjiang province, China in 1961. This bust captures Mo Wei, the wife of the artist, in bronze.  The almond shape of her face is accentuated by her elongated neck; this sense of length further accentuated in her gently sloping narrow shoulders.  This slender portrait thus exudes a sense of grace and calm.  Her hair pulled back into a chignon, along with her focused eyes, long nose, and gently pursed lips, grant her delicate features a quiet strength reminiscent of renaissance and later Italian and continental portrait sculpture.  The handling of her moulding and the mottled colour of the metal from which she is cast give Mo Wei a soft, tactile quality as if she has been moulded from clay.  The fact that she is cast in metal thus contrasts with her delicate sense of grace and calm. #LiXiangquin #ChineseSculpture #ChineseContemporarySculpture #Sculpture #MoWei #bronze #bust #forsale
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Li Xiangqun is one of China’s leading figurative sculptors and was born in Harbin, Heilongjiang province, China in 1961. This bust captures Mo Wei, the wife of the artist, in bronze. The almond shape of her face is accentuated by her elongated neck;

Frank Dobson has been described, alongside Henri Gaudier-Breszka (1891-1915) and Jacob Epstein (1880-1959), as one of the most significant figures in the development of twentieth-century British sculpture, and among the chief forerunners of the sculpture of Henry Moore (1898-1986) and Barbara Hepworth (1903-1975). This recently discovered bronze head of his sister-in-law, the Cornish artist Mary Jewels (1886-1977), evokes the febrile climate of artistic experimentation of the Cornish village of Newlyn. #FrankDobson #ModernBritish #Cornish #Art #Newlyn #1920s #MaryJewels #Sculpture #Portrait #Head
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Frank Dobson has been described, alongside Henri Gaudier-Breszka (1891-1915) and Jacob Epstein (1880-1959), as one of the most significant figures in the development of twentieth-century British sculpture, and among the chief forerunners of the sculp

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ABRAHAM DANIEL (d.1806)
A Lady, wearing white dress flecked with gold, her hair worn long c.1785
This portrait of a lady is typical of Daniel’s soft stipple technique, describing the mass of the sitter’s hair by employing short strokes and dots which blend into the lighter background. Also typical are the large, limpid eyes of the sitter. #PortraitMiniature #AbrahamDaniel #Miniature #Lady #18thCenturyArt #portrait #ForSale
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NEW TO THE WEBSITE… ABRAHAM DANIEL (d.1806) A Lady, wearing white dress flecked with gold, her hair worn long c.1785 This portrait of a lady is typical of Daniel’s soft stipple technique, describing the mass of the sitter’s hair by employing short st

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RICHARD COSWAY (bap. 1742 – 1821)
Portrait of a young naval officer, wearing a blue coat with white facings and white cravat
In this portrait by Richard Cosway (bap. 1742 – 1821), we see a young man of a junior rank towards the close of the eighteenth century. With his characteristic blue uniform coat – which suggests that he may have been a captain – the sitter is instantly recognizable as a figure from the heroic age of the British navy as epitomized by the career of Admiral Lord Horatio Nelson. #RichardCosway #PortraitMiniaturist #Portrait #miniature #PortraitMiniatures #Cosway #Nelson #NavalOfficer #Captain #encased #ForSale
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NEW TO THE WEBSITE… RICHARD COSWAY (bap. 1742 – 1821) Portrait of a young naval officer, wearing a blue coat with white facings and white cravat In this portrait by Richard Cosway (bap. 1742 – 1821), we see a young man of a junior rank towards the cl

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ANDREW PLIMER (1763-1837)
A Gentleman, wearing brown coat, white waistcoat and white tied cravat, his hair powdered, c. 1795
This portrait miniature is a typical example of Andrew Plimer’s work during the last years of the eighteenth century. His confident, elongated brushstrokes defining the sitter’s coat, and the luminous quality of the bare ivory used to highlight the eyes, hair and cravat, are reminiscent of the portrait of James Daniell in the V&A collection [P.90-1910]. Although the identity of this gentleman is known only by his initials, Plimer produces a careful likeness, detailing the hint of a smile on the sitter’s lips. #AndrewPlimer #PortraitMiniautre #Handsome #Gentleman #TheMiniautre #Portrait #18thCenturyArt #FineArt #ForSale
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NEW TO THE WEBSITE… ANDREW PLIMER (1763-1837) A Gentleman, wearing brown coat, white waistcoat and white tied cravat, his hair powdered, c. 1795 This portrait miniature is a typical example of Andrew Plimer’s work during the last years of the eightee

On the twelfth day of Christmas from Philip Mould & Company another highlight from the gallery: 
November and December this year have been an especially exciting time for Philip Mould & Co. due to the miraculous discovery of a long-lost portrait of Charles Dickens by the professional female artist Margaret Gillies. The portrait, which has gained a significant amount of national and international press, was painted in 1843 by Gillies, over the course of 6-7 sittings whilst Dickens was penning his festive masterpiece A Christmas Carol. The exhibition is on until 25 January 14:00. We hope you’ve enjoyed your 12 days of Christmas and we’re looking forward to the year ahead.
#TwelfthDayOfChristmas #12DaysOfChristmas #Christmas #NewYear #2019 #CharlesDickens
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On the twelfth day of Christmas from Philip Mould & Company another highlight from the gallery: November and December this year have been an especially exciting time for Philip Mould & Co. due to the miraculous discovery of a long-lost portrait of C

On the eleventh day of Christmas from Philip Mould & Company another highlight from the gallery: 
November saw the launch of our exhibition ‘Charles Dickens: The Lost Portrait’ which has been widely covered in the national and international press. It was a truly remarkable moment for Philip Mould & Company and for our Private View we were fortunate enough to have the theatrical presence of Simon Callow CBE for a reading of Dicken’s festive masterpiece ‘A Christmas Carol’ (1843) to celebrate the first time the portrait has been seen in public since 1844. 
#EleventhDayOfChristmas #SimonCallow# PrivateView #2018LookingBack #TheDaysOfChristmas #theatre #performance #CharlesDickens
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On the eleventh day of Christmas from Philip Mould & Company another highlight from the gallery: November saw the launch of our exhibition ‘Charles Dickens: The Lost Portrait’ which has been widely covered in the national and international press. It

On the tenth day of Christmas from Philip Mould & Company another highlight from the gallery: In October, work began on our mystery exhibition ‘Charles Dickens: The Lost Portrait’ with our first venture into the realm of podcast making. On hand we had Portrait Miniature Specialist, Emma Rutherford, Director or the Charles Dickens Museum, Dr Cindy Sughrue, Curator of the Museum, Louisa Price and Charles Dickens’ Great-Great-Great-Granddaughter, Lucinda Dickens Hawksley. The podcast, which is still available to listen to on the Entale podcasting app, i-tunes and Google podcasting app Stitcher, launched on 21st November and offers a further insight into this remarkable find. 
#TenthDayOfChristmas #podcast #CharlesDickens #EntaleHQ #listen #learn #education #exhibition #LostPortrait
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On the tenth day of Christmas from Philip Mould & Company another highlight from the gallery: In October, work began on our mystery exhibition ‘Charles Dickens: The Lost Portrait’ with our first venture into the realm of podcast making. On hand we ha