John (1586) Hoskins Sold at Auction Prices

John Hoskins - Portrait of Dorothy Wheler 

John Hoskins,  British c.1590-1665 Portrait of Dorothy Wheler;  watercolour on vellum, oval, signed with monogram ‘iH’ and dated ‘1648’ (lower right), encased in a gold frame with spring cresting and enamelled reverse, 6.5 x 5.1 cm.  Note:  This portrait by Hoskins commemorates the marriage of 22 year old Dorothy (1626-1687) to Sir Charles Wheler (circa 1620-1683), 2nd Baronet, a cavalry officer from Birdingbury, Warwickshire.  Sir Charles Wheler actively supported the Royalist cause during the English Civil War, conveying the gold and silver of Cambridge University, where he had been a student and where he would later serve as a Member of Parliament, to the King to help finance the war effort. His loyalty to the crown earned him a role as Gentleman of the Privy Chamber, serving King Charles II from 1660 to 1679. Dorothy and Charles had three sons and two daughters together.  During the English Civil War, artists such as Hoskins, and his nephew and pupil Samuel Cooper (1609-1672), were high in demand. Prolonged periods of separation and mourning fueled an active market for miniatures, as these small portraits allowed bereaved family members to keep their loves ones close, often wearing them as pendants near their hearts. Hoskins’s son, John the Younger (circa 1617-1693), seems to have taken over as artist in the later 1640s, painting in a technique virtually identical to his father’s preserving the family reputation and legacy.  In the present portrait, Hoskins has used fine and delicate brushstrokes to evoke the glint of Dorothy's precious diamond and pearl jewellery, which showcases her and her family's wealth and status. A similar portrait, which also highlights Hoskins's eye for his sitters' personality and costume, appeared at Sotheby's London, 05 dec 2019, lot 216 (£17,000). Another similar example, which, like the present portrait, is dated 1648, is in the collection of the Nationalmuseum, Stockholm (inv. no. NMB 1670). That example represents Lady Alice Lisle, whose husband was on the opposite side of the war to Sir Charles Wheler, and served on Oliver Cromwell's government. 

JOHN HOSKINS (C. 1590-1665),

JOHN HOSKINS (C. 1590-1665), , A young lady in low-cut gold silk dress, pearl necklace and earrings On vellum Oval, 64 mm. high, later gilt-metal spiral crested frame ,

John Hoskins (British, c. 1590-1665) Oval, 64 mm. high, later gilt-metal spiral crested frame

John Hoskins (British, c. 1590-1665) A young lady in low-cut gold silk dress, pearl necklace and earrings On vellum Oval, 64 mm. high, later gilt-metal spiral crested frame

JOHN HOSKINS | Portrait of a gentleman

Watercolour and bodycolour, heightened with gold on vellum, mounted on prepared card, gold frame, scroll surmount; signed with the artist's initials and dated centre left: 1660. / I H.

JOHN HOSKINS | Portrait of a lady

Watercolour and bodycolour on vellum, mounted on a playing card, silver-gilt frame, scroll surmount; bears spurious monogram and date: SC / 1656

JOHN HOSKINS | Portrait of James Stuart, 1st Duke of Richmond and 4th Duke of Lennox (1612-1655), circa 1640 

Watercolour and bodycolour, heightened with gold paint on vellum, mounted on card, gilt-metal frame; signed with the artist's monogram: IH

JOHN HOSKINS | Portrait of a gentleman, traditionally identified as Sir Edmund Berry Godfrey (1621-1678), circa 1655

Watercolour and bodycolour on vellum, silver-gilt frame, with a bracelet clasp, engraved on the reverse; signed centre left with the artist's initials: IH  

JOHN HOSKINS | Portrait of a Gentleman

Watercolour and bodycolour, heightened with gold on vellum; signed centre left with the artist's monogram:  IH, inscribed centre right: 32 

JOHN HOSKINS | Portrait of a Lady

watercolour and gouache on vellum, gilt-metal frame, agate verso; signed centre left: 1620 / IH

John Hoskins (British, circa 1590-1664) A Gentleman, wearing white chemise with lace trimmed collar, gold and coral double-hoop earring, natural hair, his right hand tucked inside his open chemise

A Gentleman, wearing white chemise with lace trimmed collar, gold and coral double-hoop earring, natural hair, his right hand tucked inside his open chemise. Watercolour on vellum, signed on the obverse with monogram IH, turned wood frame. Oval, 58mm (2 5/16in) high Provenance: Sotheby's. 9 April 1992, lot 131

John Hoskins (British, circa 1590-1664) A Gentleman, wearing white chemise with lace trimmed collar, gold and coral double-hoop earring, natural hair, his right hand tucked inside his open chemise

A Gentleman, wearing white chemise with lace trimmed collar, gold and coral double-hoop earring, natural hair, his right hand tucked inside his open chemise. Watercolour on vellum, signed on the obverse with monogram IH, turned wood frame. Oval, 58mm (2 5/16in) high Provenance: Sotheby's. 9 April 1992, lot 131

John Hoskins (British, circa 1590-1664) A Gentleman, wearing gold-shot brown doublet with gold stitching and buttons, the sleeves slashed to reveal white, lace edged lawn collar and orange sash, landscape background

A Gentleman, wearing gold-shot brown doublet with gold stitching and buttons, the sleeves slashed to reveal white, lace edged lawn collar and orange sash, landscape background. Watercolour on vellum, signed on the obverse with initials and dated 1657/ I H. , silver-gilt frame with pierced spiral cresting. Oval, 74mm ( 2 15/16in) high Provenance: Sotheby's, 19 June 1967, lot 49 Sotheby's, 6 June 1996, lot 23

John Hoskins (British, circa 1590-1664)

A Lady, wearing green water-silk dress with white underslip, patterned silver-grey cloak over her left shoulder, pearl necklace and further smaller pearls decorating the bun of her hair worn in curls. Watercolour on vellum, signed on obverse with monogram in gold and dated I.H./ 1646 , set in a turned ebonised fruitwood case. Oval, 70mm ( 2 3/4in) high Provenance: The Ashcroft Collection The M. Papier Collection, no.172 Sotheby's, 7 May 1946, lot 58 Exhibited: Brussels Exhibition, 1912, catalogue p.184, no.216 On loan to the Victoria & Albert Museum, London, 1924-1939 Exhibition of British Art, London, 1934, catalogue no.953, ill. pl.203, no.1088 Literature: Basil Long; British Miniaturists , 1966, p.226 (described as 'particularly good') Basil Long; The Connoisseur , July 1926, p.133, pl.2 (Long here describes her hair in Crawshaw's words ' Tresses that wear/ Jewels but to declare/ How much themselves more precious are '

JOHN HOSKINS C.1595-1664

THE PROPERTY OF A GENTLEMAN PORTRAIT OF A NOBLEMAN 5.6 by 4.5 cm., 2 ¼ by 1 ¾ in. with long brown hair, wearing full armour and a white collar, a blue background signed l.r.: J H gilt-metal frame NOTE One of the most important miniature painters of the 17th Century, Hoskins bridged the gap betweeen Isaac Oliver (d.1617) and his nephew and pupil Samual Cooper (c.1609-1672). Hoskins was later described by an 18th Century source as, 'a very eminent limner in the reign of King Charles I, whom he drew with his Queen, and most of his court. He was bred a face-painter in oil but afterwards taking to miniature he far exceeded what he did before,' (see D. Foskett, Miniatures, Dictionary and Guide, 1987, p. 570).

JOHN HOSKINS (BRITISH, C. 1590-1665)

A superb miniature of a young gentleman, in black doublet with buttons, black cloak draped over his right shoulder, white collar with tassels, long curling brown hair; pillar and landscape background with a bridge and mountains beyond signed with initials and dated '1654 I H.' (upper left) on vellum oval, 2 5/8 in. (66 mm.) high, gilt-metal frame with spiral cresting

JOHN HOSKINS (BRITISH, C. 1590-1665)

A gentleman, in black silk doublet with black buttons, high white ruff and black skull cap signed with monogram 'IH' (mid-right) on vellum oval, 2 1/16 in. (53 mm.) high, gilt-metal frame, the reverse engraved with initial 'M', surmounted by a coronet

JOHN HOSKINS D.1664

Head and shoulders, with brown hair worn loose and curled, wearing armour and a white collar, signed l.r.: J.H./1650, oval, gilt-metal frame with scroll surmount, the reverse engraved: Sir Gilbert Ireland/1624-1675/J.H.1650, in later presentation case

JOHN HOSKINS (BRITISH, D. 1664/65)

Sir Arthur Hesilrige (d. 1661), in gilt-studded armour and lawn collar, long brown hair signed with initials and dated '1652 . IH.' (mid-right) on vellum oval, 2 1/2 in. (64 mm.) high, associated silver-gilt frame

John Hoskins (British, b.c.1590-d.1664/5) George Villiers, Duke of Buckingham (1592-1628), wearing

slashed black patterned doublet with his white shirt showing through, large, white lace falling collar, blue sash of the Garter, his auburn hair worn loose and curled, lilac background watercolour on vellum, signed on obverse with initial, H, later gilt-metal frame oval, 57mm. (2 1/4in.) high Provenance: Christies, London; 2nd November, 1971, lot 42 by descent to the present owner George Villiers was the favourite of both James I and Charles I and was created Duke of Buckingham in 1623. He was a great patron of the arts but had several political disasters. In 1628, he was at Portsmouth, preparing an expedition to La Rochelle when he was killed by John Felton, a disgruntled naval officer. The present lot is one of several versions painted of the Duke of Buckingham by Hoskins after his death by assassination in 1628. The head is taken from a large oil portrait of the Buckingham family by Gerard van Honthorst which is in the Royal Collection. Other versions exist in the Royal Collection (RCIN 420036) and the Collection of the Duke of Buccleuch (see A. Mckay, Miniatures in Montagu House, 1899, p.192, no.2.

John Hoskins (British, c.1590-1664/5) Robert Carr, Earl of Somerset (1587–1645) with moustache and

pointed beard, wearing armour with brass studs, white collar and hoop earring on vellum, original gold frame with tag engraved EARL OF SOMERSET/ BY/ JOHN HOSKINS oval, 33mm. (1 3/8in.) high Robert Carr (Ker), Scottish favourite of James I of England. He may have accompanied James to England as a page in 1603, but appears to have spent some time in France before returning to the English court. He soon became close to James and was knighted in 1607. In 1609 he was granted lands that had been forfeited by Sir Walter Raleigh. In 1611, he was created Viscount Rochester and served James as personal secretary, becoming Earl of Somerset in 1613. In the same year he married Frances Howard, the Countess of Essex (who had her marriage to the 3rd Earl of Essex annulled in a sensational trial). In 1614, Somerset was made Lord Chamberlain. He became an important counsellor to the King, but his jealous and arrogant nature alienated James's affections. On the discovery of the murder of his former friend, Sir Thomas Overbury in 1616, Somerset and his wife were tried and found guilty of perpetrating it, although Somerset's guilt was not fully established. They were both pardoned but not released until 1622. The present lot depicts Carr as a relatively young man, circa 1620, a period when Hoskins painted him a number of times (cf., Royal Coll., Rayne Coll., Buccleuch Coll. and V&A Coll.). However, his armour is of the type worn just preceding and during the Civil War. It would therefore seem that for the present lot Carr either requested that he be painted in a flattering light or that it is in fact an example of Hoskins' "posthumous" portraits from memory. It has been suggested that some of Hoskin's 1620s portraits of Carr may have been painted from memory, as Carr was in prison at this time.

John Hoskins (British, c.1595-1664) : A Gentleman, with short brown hair, blond moustache & small beard, wearing figured black doublet