Mather Brown Paintings & Artwork for Sale | Mather Brown Art Value Price Guide

Jun. 02, 2026
Portrait of a Woman in a Blue Satin Dress
Est: $6,000 - $8,000
Property of a Distinguished Private Collector Attributed to Mather Brown Boston 1761 - 1831 London Portrait of a Woman in a Blue Satin Dress oil on canvas canvas: 29 ¾ by 24 ¾ in.; 75.6 by 62.9 cm framed: 35 ⅜ by 30 ¾ in.; 89.9 by 78.1 cm
Sotheby's
Apr. 22, 2026
MATHER BROWN (BRITISH, 1761-1831) FRANCESCO BARTOLOZZI (ITALIAN, 1727-1815), THE DEPARTURE OF THE SONS OF TIPPOO, Hand-colored stipple engraving, Sheet 19 x 23 3/4 in. (48.3 x 60.3 cm.); Frame: 25 3/4 x 30 1/2 in. (65.4
Est: $400 - $600
MATHER BROWN (BRITISH, 1761-1831) FRANCESCO BARTOLOZZI (ITALIAN, 1727-1815) THE DEPARTURE OF THE SONS OF TIPPOO Hand-colored stipple engraving Lower left inscribed: Mather Brown Pinx.t Historical Painter to their Royal Highnesses the Duke & Dutchess of York.; lower center titled: The Departure of the Sons of Tippoo; lower right inscribed: F. Bartolozzi R.A. Engraver to His Majesty Sculp.
Potomack Company
Mar. 26, 2026
Mather Brown. Portrait of a Woman, oil
Est: $800 - $1,200
(American/British, 1761-1831) Oil on canvas, signed ll, with degraded labels on verso possibly identifying the sitter, sight size: 28 3/4 x 24 in., framed size: 33 1/2 x 28 1/2 in.
Alex Cooper
Nov. 04, 2025
MATHER BROWN (AMERICAN 1761 - 1831), PORTRAIT OF ANNE RUDGE (NÉE NOUIALLE) (1761 - 1836)
Est: £1,000 - £1,500
MATHER BROWN (AMERICAN 1761 - 1831)PORTRAIT OF ANNE RUDGE (NÉE NOUIALLE) (1761 - 1836)Oil on canvas74 x 62cm (29 x 24¼ in.)Provenance:The collection of a member of the Rudge familyThence by descentAnne Rudge (1763-1836) is one of the earliest known published female botanical artists.Her marriage to husband Edward Rudge (1763-1846), has been described as the perfect scientific and artistic partnership. Anne was already well educated and skilled in drawing before her marriage and was able to utilise her artistic ability by illustrating her husband's botanical research.Edward was a wealthy landowner and skilled amateur botanist who published a major work, Plantarum Guianae, on the plants of Guiana between 1805 and 1807. At a time when many new specimens from Australia were being sent back to England, Edward Rudge made a significant contribution to Australian botany by describing twenty-seven Australian plants for the first time in a series of four papers delivered before the Linnean Society between 1805 and 1811.Anne drew the fifty plates for Plantarum Guianae, as well as producing the illustrations for the papers her husband wrote for the Linnean Society. Her drawings were held in such high esteem during her lifetime that a species of water lily was named after her.The authenticity of this painting has previously been confirmed on the basis of photographs by Dorinda Evans.
Dreweatts 1759 Fine Sales
Jul. 08, 2025
Mather Brown (American, 1761-1831), Head and shoulders portrait sketch of John Williams (otherwise known as Anthony Pasquin)
Est: £20,000 - £30,000
Mather Brown (American, 1761-1831) Head and shoulders portrait sketch of John Williams (otherwise known as Anthony Pasquin) Oil on canvas, in a good carved and giltwood frame John Williams (1761-1818), better know by the pseudonym Anthony Pasquin, was a writer, satirist and important historian of Irish Art. Born in London, he was educated at the Merchant Taylor's School, where he was much influenced by the headmaster, James Townley, friend of Garrick and associate of Hogarth. In 1786 Williams adopted the pen-name Anthony Pasquin and published his first extended satires on actors, 'The Children of Thespis', and on artists, in the never staged and un-actable 'The Royal Academicians, a Farce'. Though Williams's statement in 1797 that he had edited more periodicals than any man living is probably an exaggeration, there is no doubt that he was a busy journalist, both in short-lived periodicals launched by himself and in established newspapers. It is, however, his Authentic History (1796) of the artists of Ireland on which his modern reputation is founded, as it is the essential biographical source for its subjects, many of whose lives and works are otherwise unmemorialised. Strickland, whose Dictionary of Irish Artists (1913), which remains the Textus Receptus on the subject, relies throughout on information gleaned from the pages of Pasquin's Authentic History, His writings on politics and art alike appeared under the name of Anthony Pasquin. Several of his books were illustrated with frontispieces and vignettes drawn and/or engraved by him. Provenance: The Reverend William Dacy, by whom given to the Reverend Thomas James Judkin, MA (1788-1871); John Lane, New York; [Possibly B.W.F. van Riemsdijk[1], Director of the Rijksmuseum, Amsterdam, from 1897 to 1920, as “attributed to Gilbert Stuart”]; Sale: Christie's, South Kensington, April 29, 1985, lot 59; With Thomas Agnews & Sons Ltd., London; Acquired from the above by a private collector, USA; His sale, Sotheby's New York, Old Master Paintings, 6th June 2008, lot 144, ($23,750) Literature: Prof. Dorinda Evans, "Mather Brown", 1982, p. 221, catalogue raisonné no. 140 (as whereabouts unknown). The author dates the painting circa 1790 and notes the sitter's name John Williams as a pseudonym for Anthony Pasquin; Charles R. Hart “Thomas Dawson, Viscount Cremorne, painted by Mather Brown” (Art in America, no. 5 (October 1917) p.310), where stated to be in the collection of B. W. F. Riemsdijk' Augusto Calabi and Alexandre De Vesme, Francesco Bartolozzi. Catalogue des estampes et notice biographique d'après les manuscrits de A. De Vesme entièrement réformés et complétés d'une étude critique par A. Calabi, Milan, Guido Modiano, 1928 Freeman O'Donoghue & Henry M Hake, "Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum", In 2 (1908) of 6 vols, London, 1908-25; Engraved in stipple by E. Scott, published by Collings and Clearson (1790) Dimensions: (Frame) 25.25 in. (H) x 21.5 in. (W) (Canvas) 17 in. (H) x 13.5 in. (W)
Sloane Street Auctions
Jul. 08, 2025
Mather Brown (American, active in England, 1761-1831), Half-length portrait of Nathaniel Chauncey (1717-1790)
Est: £6,000 - £8,000
Mather Brown (American, active in England, 1761-1831) Half-length portrait of Nathaniel Chauncey (1717-1790) Sitting at a small table on which rest a leather-bound book, two sheets of drawings and a “black basalt-ware” figure of the Muse of sacred poetry, Polyhymnia Circa 1786 Oil on canvas and contained within its original late 18th century giltwood George III frame Provenance: By descent from the sitter to Miss Katherine Chauncey who bequeathed it to Colonel Chaunc(e)y; Thence to his daughters the Misses Chaunc(e)y of 23 Bennett Street, Bath; Their sale, Christies, London, 17 June 1921 (lot 98), erroneously as by Sir Joshua Reynolds and as a portrait of Dr Charles Chauncey (Nathaniel's elder brother) and painted in 1758, to E.Parsons & Sons, art dealers, on behalf of A.J.V. Radford Esq. of Malvern; His sale Sothebys, 1957 (not traced) where acquired by Capt. F. Gordon Troup of Haslemere, and thence by descent to his son Donald Troup until 2010 when acquired by the present owner. Literature: Graves and Cronin, 'History of the Works of Sir Joshua Reynolds' (1898) p. 1280, as a portrait of Charles Chauncey MD FSA, who sat for his portrait in 1758, and paid for it before 1760; Sir Ellis Waterhouse Reynolds (1941) p.75 as the portrait of Nathaniel Chauncey exhibited at the Royal Academy in 1784 (no.16). The picture is listed as untraced and engraved and the size given as 76 x 63 cm (30 x 25 inches: the present painting is a “KitKat”, ie 36 x 28 inches) and illustrated as plate 159; David Mannings, 'Sir Joshua Reynolds, A Complete Catalogue of his Paintings', (2000) Volume I, page 130 sub. Catalogue number 352, (“Nathaniel Chauncey 1717-1790”) where he notes that “The portrait of Nathaniel Chauncey repr(oduced) in W(aterhouse) (pl.159) was subsequently attributed by Waterhouse himself to Mather Brown. This picture relates strongly to the famous image of Thomas Jefferson by Mather Brown, now in the National Portrait Gallery, Washington, which is of identical size and near-identical composition and was painted in London in 1786. The art-historical status of this painting has been the subject of much confusion since it was first published in 1899-1901 by Graves and Cronin as a portrait of Dr Charles Chauncey MD FSA (1706-1777) by Sir Joshua Reynolds PRA. This error was repeated in the 1921 sale at Christies, when it was described as of Charles Chauncy (sic) and painted in 1758. Dr David Mannings (Complete Catalogue, 2000, p.130) demonstrates conclusively that the “Mr Chauncy Junior” who appears in Reynolds ledgers for 1758 was in fact William Henry Chauncey (1728-1788). Dr Charles Chauncey had appointments with Reynolds in 1755, 1770 and 1771, though any portraits resulting from these sittings, if they exist, are no longer extant or traceable. Certainly, on the grounds of costume alone, the present painting cannot date before the mid-1780s, and the 1921 Christie cataloguing must thus fail on both dating and identity grounds. However, the error was compounded by Ellis Waterhouse when publishing his 1941 monograph on Reynolds: he reproduces the present picture as plate 159. By now Waterhouse had realised that the portrait could not be of Charles Chauncey and the Royal Academy painting of 1784, since Charles Chauncey had already died in 1777, and he correctly identifies the sitter as Nathaniel Chauncey, elder brother of Charles. Dimensions: (Frame) 44.75 in. (H) x 35.75 in. (W) (Canvas) 35 in. (H) x 27 in. (W)
Sloane Street Auctions
Jun. 11, 2025
MATHER BROWN (AMERICAN 1761 - 1831), PORTRAIT OF ANNE RUDGE (NÉE NOUIALLE) (1761 - 1836)
Est: £2,000 - £3,000
MATHER BROWN (AMERICAN 1761 - 1831) PORTRAIT OF ANNE RUDGE (NÉE NOUIALLE) (1761 - 1836) Oil on canvas 74 x 62cm (29 x 24¼ in.) Provenance: The collection of a member of the Rudge family Thence by descent The authenticity of this painting has previously been confirmed on the basis of photographs by Dorinda Evans. Anne Rudge (1763-1836) is one of the earliest known published female botanical artists. Her marriage to husband Edward Rudge (1763-1846), has been described as the perfect scientific and artistic partnership. Anne was already well educated and skilled in drawing before her marriage and was able to utilise her artistic ability by illustrating her husband's botanical research. Edward was a wealthy landowner and skilled amateur botanist who published a major work, Plantarum Guianae, on the plants of Guiana between 1805 and 1807. At a time when many new specimens from Australia were being sent back to England, Edward Rudge made a significant contribution to Australian botany by describing twenty-seven Australian plants for the first time in a series of four papers delivered before the Linnean Society between 1805 and 1811. Anne drew the fifty plates for Plantarum Guianae, as well as producing the illustrations for the papers her husband wrote for the Linnean Society. Her drawings were held in such high esteem during her lifetime that a species of water lily was named after her.
Dreweatts 1759 Fine Sales
May. 24, 2025
Brown, Mather...
Est: -
Brown, Mather 1761 Boston - 1831 London Portrait of John Reeves. Chief Justice of Newfoundland (1751-1829), ca. 1790. Signiert. Öl/Lwd., 77 x 63 cm. Provenance: Christopher N. Goodman, Dorchester, Dorset descended collaterrally to the present owner. Literature: Mather Brown Early American Artist in England by Dorinda Evans, Page 90 with illustration.
Dusseldorfer Auktionshaus
May. 22, 2025
The Departure of the Sons of Tippoo from the Zenana, engraved by F. Bartolozzi after Mather Brown (1761-1831) D. Orme, London, 21st December 1793
Est: £3,000 - £5,000
The Departure of the Sons of Tippoo from the Zenana, engraved by F. Bartolozzi after Mather Brown (1761-1831) D. Orme, London, 21st December 1793 coloured aquatint, lower border with titles, dedication to the Rt. Hon. Henry Dundas, etc. 480 x 603 mm. (sight); frame 60 x 72 cm.
Bonhams
May. 22, 2025
The Delivery of the Definitive Treaty by the Hostage Princes into the hands of Lord Cornwallis, engraved by Daniel Orme after Mather Brown (1761-1831) D. Orme, London, 21st December 1793
Est: £3,000 - £5,000
The Delivery of the Definitive Treaty by the Hostage Princes into the hands of Lord Cornwallis, engraved by Daniel Orme after Mather Brown (1761-1831) D. Orme, London, 21st December 1793 coloured aquatint, lower border with titles, dedication to the Hon. East India Company 480 x 603 mm. (sight); frame 60 x 72 cm.
Bonhams
Mar. 26, 2025
Attributed to Mather Brown (American, 1761-1831)
Est: £7,000 - £10,000
Attributed to Mather Brown (American, 1761-1831) An Officer of the Berkshire Regiment of Fencible Cavalry, or Windsor Foresters, circa 1794-1800 oil on canvas 220 x 120cm Provenance: Traditionally said to have been acquired in Parma, Italy, according to the previous owner, Cheffins, Cambridge, 4th March 2015, Lot 596, where acquired by the present owner The sitter in the present portrait was an officer of The Berkshire Regiment of Fencible Cavalry, otherwise known as the "Windsor Foresters" as identified by the title scroll on his helmet. The Fencibles were raised 1st May 1794 for service within Britain and consisted of six troops under the command of Colonel Charles Rooke. They were primarily defensive units usually based within garrisons or on patrol and spent majority of their time in Scotland, where their main role was to be a front line of defence against French invasion from the Bonaparte regime. They were disbanded circa 1799-1800 and their uniform was by permission of King George III taken over by the Wargrave Rangers. Most of the regiment were volunteers, often landowners or nobility. There were approximately twenty officers in the Fencibles as of June 1797, which is around the time this picture was painted. However, their lack of recorded iconography makes the identification of the sitter a difficult task. Nevertheless, stylistically this magnificent military swagger portrait can be attributed to the American-born portrait painter Mather Brown and represents a significant addition to his known oeuvre. Born in Boston, Massachusetts, Mather Brown was to become a prominent portrait and historical painter who made his career in England. The handling, scale and composition are closely comparable with Brown's full-length portraits of Frederick Augustus (1763–1827), Duke of York (Waddesden Manor) and Sir John Eamer (1750–1823), Lord Mayor of London (Guildhall Art Gallery). We are grateful to Christopher Bryant for identifying the regiment of the sitter. 241.5 x 142cm framed
Cheffins
Mar. 12, 2025
After Mather Brown, King Louis XVI saying goodbye to his family
Est: £200 - £300
After Mather Brown, American 1761-1831- King Louis XVI saying goodbye to his family; oil on canvas, 60.6 x 76.2 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a copy after Mather Brown's original composition, now in the collection of the Wadsworth Atheneum Museum of Art in Hartford, Connecticut [1980.2].
Roseberys
Feb. 11, 2025
ATTRIBUTED TO MATHER BROWN (AMERICAN 1761-1831), PORTRAIT OF A GENTLEMAN, POSSIBILY CASPAR WISTAR
Est: £10,000 - £15,000
ATTRIBUTED TO MATHER BROWN (AMERICAN 1761-1831)PORTRAIT OF A GENTLEMAN, POSSIBILY CASPAR WISTAROil on canvas89.5 x 69.5cm (35 x 27¼ in.)This fascinating portrait of a young anatomist, painted in the late 18th century is characteristic of the work by Anglo-American portrait painter Mather Brown. The portrait shows a medical man at the beginning of his career, and of particular interest is the specimen jar at his elbow. In this jar can be seen preserved a human foetus. On even closer inspection this can be seen to be a two-headed example. The inclusion of such an object in a portrait underlines the curiosity that such phenomena aroused in the medical world at that time.Mather Brown was born in America but moved to London before he was 20. At the start of his career, he was helped by two established American artists working in London: Benjamin West and Gilbert Stuart. All three artists made something of a point of painting American sitters as they passed through London, both Americans who had remained loyal to the Crown through the War of Independence or those who were now the new political representatives of the emerging American nation. Brown's sitters included such luminaries as John Adams, the 2nd President of the United States and Thomas Jefferson who would follow him as the 3rd President. Brown's 1786 portrait of Thomas Jefferson (National Portrait Gallery Smithsonian Institution) in fact bears particularly close comparison with this present work. Colonel William Smith of the same date (Adams National Historical Park) and Sir Richard Arkwright, painted in 1790 (New Britain Museum of American Art) are also strikingly similar in their treatment of each sitter. Brown worked from around 1781 for some 50 years until his death in 1831, but it is his early work that is now regarded as his finest. His portraits from the late 1780s and early 1790s rank with the best of their day and tellingly it was then that he was appointed 'History and Portrait Painter' to the Duke of York.The identification of the sitter in this intriguing portrait is difficult. He is obviously a medical man, and one with a particular interest in anatomy. He wears unusual dress for an English sitter of the day. His cravat is a little more severe, and the cut of his clothes a little more angular. In all his costume appears plausibly American. It is possible then, that we are looking at a young American medic passing through London. One of the most famous medical schools in the world at that date was that in Edinburgh and several foreign students, Americans among them, were drawn to further their studies in the Scottish capital. The only appropriately aged medical man, known to have sat for Mather Brown in the late 1780s is one William Spooner, who's portrait is currently untraced. But reading descriptions of the picture from early 20th century records, there are too many discrepancies for this present portrait to depict him. However, he did have a close friend, a man called Caspar Wistar (1761 - 1818), who like Spooner himself, graduated from the University of Edinburgh in 1786. Wistar toured Europe briefly after his graduation, returning to America by 1787. We can conclude then that if we are looking at Caspar Wistar painted by Brown in London, it would most likely have been done in 1786. That date is totally consistent stylistically with other works by Brown from that date.It is quite probable that a newly qualified medical man would get his portrait painted in his professional attire, as is depicted here, shortly after graduation. Furthermore, Caspar Wistar is known to have been particularly keen on 'specimens' and his collection of these still exists today in the institute named after him - the Wistar Institute at the University of Pennsylvania in Philadelphia. We know that Wistar's friend William Spooner had chosen the ex-pat American Mather Brown as his own portrait painter, therefore it is not such a leap to suggest that this might in turn be the connection between Wistar and Brown.Caspar Wistar became a highly celebrated American physician. He was a fellow of the American Academy of Arts and Sciences and of the American College of Physicians. He published his famous System of Anatomy in 1811, and alongside that had developed a system of preserving human remains by injecting them with wax. He was an early pioneer of vaccination, a prominent abolitionist, a friend, despite their difference in years, of Thomas Jefferson and is also remembered today by having had the plant Wisteria named after him. Only one confirmed image of Wistar is known today, a portrait painted the year before he died, by Bass Otis in 1817. Here Wistar is considerably older than he would have been in 1786 but when comparing the two faces, they are not at all dissimilar. A copy painted in 1830 by Thomas Sully of this later portrait can be found in the collection of the American Philosophical Society Library (No 58.P.26).
Dreweatts 1759 Fine Sales
Sep. 23, 2024
Attribué à Mather BROWN
Est: €400 - €600
Attribué à Mather BROWN (Boston, 1761 - Londres, 1831 ) Portrait de la comtesse Desbassayns de Richemont née Jeanne-Catherine Trois crayons sur papier Monogrammé 'MB' à droite H : 13.5 cm, L : 10.5 cm Provenance : Collection Bouthillier-Chavigny ; Puis par descendance ; Collection particulière, Doubs Attribué à Mather BROWN (Boston, 1761 - Londres, 1831 ) H : 13.5 cm, L : 10.5 cm
Artcurial
Apr. 10, 2024
Mather Brown
Est: $1,000 - $2,000
American, 1761-1831 Portrait of Zaccheus Henshaw, 1794 Signed M Brown and dated 1794 (cr) Oil on canvas 30 x 25 inches (Framed 37 1/2 x 32 1/2 inches) Glue relined; extensive inpainting throughout focused at the edges; two repaired tears the largest of which is approximately 1 1/2 x 1 inches located in the sitter's collar; visible stretcher bar marks.
DOYLE Auctioneers & Appraisers
Feb. 09, 2024
MATHER BROWN PENCIL DRAWING
Est: $100 - $150
Mather Brown (1761-1831, American/UK) matted pencil drawing of a mother watching her infant, circa 1810, with a J. Whatman watermark. 8.5" x 6.5" ss / 20" x 16" oa
Wiederseim Associates, Inc.
Feb. 09, 2024
MATHER BROWN PEN & INK
Est: $600 - $800
Mather Brown (1761-1931, MA) matted pen and ink on paper titled "Woman and Child Kneeling" and verso a sketch of a male nude and a man rolling a barrel and appears to be part of the drawing series on Liverpool dock workers circa 1812. Provenance: Max Fabricant Academy Bookstore, NY to his daughter to Hirschl Adler Galleries, NY in 1976. 8.5" x 5.5" ss
Wiederseim Associates, Inc.
Sep. 20, 2023
King Alfred dividing England into Counties
Est: £3,000 - £5,000
Mather Brown Boston 1761–1831 London King Alfred dividing England into Counties signed lower left: Mather Brown pinxit oil on canvas unframed: 61 x 97.5 cm.; 24 x 38⅜ in. framed: 82 x 119 cm.; 32¼ x 46⅞ in.
Sotheby's
Jul. 07, 2023
King Alfred dividing England into Counties
Est: £6,000 - £8,000
Mather Brown Boston 1761–1831 London King Alfred dividing England into Counties signed lower left: Mather Brown pinxit oil on canvas unframed: 61 x 97.5 cm.; 24 x 38⅜ in. framed: 82 x 119 cm.; 32¼ x 46⅞ in.
Sotheby's
Jun. 08, 2023
Mather Brown (Boston 1761-1831 London) 'The Departure of the Sons of Tippoo from the Zennana...'; 'The Definitive Treaty by the Hostage Princes into the Hands of Lord Cornwallis' hand-coloured aquatint plates by F. Bartolozzi (first), and Daniel O...
Est: £1,500 - £2,500
Mather Brown (Boston 1761-1831 London) 'The Departure of the Sons of Tippoo from the Zennana...'; 'The Definitive Treaty by the Hostage Princes into the Hands of Lord Cornwallis' hand-coloured aquatint plates by F. Bartolozzi (first), and Daniel Orme after Brown, cropped within platemark (just touching publication details of second mentioned), Published by D. Orme, 21 December 1793 (2) image 43.5 x 59cm (17 1/8 x 23 1/4in).
Bonhams
Apr. 25, 2023
Mather Brown (1761-1831), "The Wedding of Henry the Seventh and Elizabeth of York," circa 1805, Oil on canvas, 48.5" H x 40" W
Est: $4,000 - $6,000
Mather Brown (1761-1831) "The Wedding of Henry VII and Elizabeth of York," circa 1805 Oil on canvas Signed and inscribed along the lower edge, right of center: Mather Brown / Cavendish Square / London; titled and dated from a letter accompanying this lot
John Moran Auctioneers
Mar. 01, 2023
Attributed to Mather Brown (1761 - 1831), Portrait of a young lady with King Charles Cavalier
Est: £1,000 - £2,000
Attributed to Mather Brown (1761 - 1831) Portrait of a young lady with King Charles Cavalier Oil on canvas In a carved and gilded period frame Period portrait stickerÂ verso Dimensions: (Canvas) 30 in. (H) x 25 in. (W) (Frame) 36.5 in. (H) x 31.5 in. (W)
Sloane Street Auctions
Nov. 30, 2022
Attributed to Mather Brown (1761-1831), Portrait of a young lady with King Charles Cavalier
Est: £2,000 - £3,000
Attributed to Mather Brown (1761-1831) Portrait of a young lady with King Charles Cavalier Oil on canvas In a carved and gilded period frame Period portrait sticker verso Dimensions: (Frame) 36.5 in. (H) x 31.5 in. (W) (Canvas) 30 in. (H) x 25 in. (W)
Sloane Street Auctions
Sep. 21, 2022
Mather Brown (1761-1831)
Est: £1,200 - £1,800
Mather Brown (1761-1831) Portrait of Richard Paul Jodrell (1745-1831) in a black coat against a red curtain inscribed 'Portrait of Richard Paul Jodrell Esqr. / of Portland Place &c. A. D. 1810 / Born Nov 14th / O.S. 1745 painted by Browne / and died Jan. 26th / 1831, having been in possession of his paternal estate 80 years' (on an old label to the reverse) oil on canvas 74 x 62cm Provenance: Christie's, London, 12th November 1998, lot 66 The sitter, a classical scholar and dramatist, was the eldest son of Paul Jodrell of Duffield, Derbyshire, solicitor-general to Frederick, Prince of Wales and his wife Elizabeth, daughter of Richard Warner of North Elmham, Norfolk. He was educated at Eton and Oxford, elected a Fellow of the Royal Society in 1772 and of the Society of Antiquaries in 1784. In 1772, he married his second cousin Vertue (d. 1806) eldest daughter and co-heiress of Edward Hase, of Salle, Norfolk and niece of John Hase, later Sir John Lombe, 1st Bt, with whom he had five sons and two daughters. He was a friend of Dr Samuel Johnson and in 1790 was elected Member of Parliament for Seaford, Sussex. He suffered from mental impairment for the last ten years of his life and died in Portland Place. The present portrait is known from an engraving by Charles T. Heath Heath after Mather Brown which was published in 1820. A portrait of this sitter by Thomas Gainsborough from the 1770s is now in the Frick Collection, New York. The painting is executed in oil on a canvas support which appears to be unlined. The canvas tension is good and the picture is generally in plane. At the lower left corner are diagonal stress cracks in the paint layer which has led to raised paint and losses. The rest of the of the paint layer is stable. There are areas of overpaint cover cracks and abrasion to the paint layer. The varnish is slightly uneven but clear. There is a light layer of surface dirt present. Framed 90 x 78cm
Cheffins
Oct. 26, 2021
Circle of Mather Brown (Boston 1761-1831 London) Portrait of a lady, said to be Barbara Yelverton, bust-length,
Est: £2,000 - £3,000
Circle of Mather Brown (Boston 1761-1831 London) Portrait of a lady, said to be Barbara Yelverton, bust-length, wearing a large blue hat oil on canvas 76.6 x 64cm (30 3/16 x 25 3/16in). For further information on this lot please visit the Bonhams website
Bonhams
Sep. 29, 2021
Attributed to Mather Brown (British, 1761-1831)
Est: £1,000 - £2,000
Attributed to Mather Brown (British, 1761-1831) Portrait of Henrietta Jeaffreson (d. 1826) half-length, in black, wearing an elaborate turban and pink roses at her breast oil on canvas 75 x 63cm Provenance: By descent from the sitter, great-great-great-great-grandmother of the present owner Footnote: The sitter who was the daughter of Lieutenant Colonel John Robinson (d. 1772) married firstly Anthony, de jure 11th Viscount Gormanston, who died in 1786. She married secondly in 1794 Lieutenant General Christopher Jeaffreson of Dullingham.
Cheffins
Nov. 14, 2020
MATHER BROWN (MA/UK, 1761-1831)
Est: $3,000 - $4,000
Portrait of an Anglican Minister in white powdered wig and clerical collar, oil on canvas, signed lower left, in what may be the original carved gold frame, OS: 32 1/4" x 27 1/4", SS: 28 1/4" x 23 1/4". Cleaned and relined. When purchased by the consignor, this was overpainted to resemble John Adams, and the signature was covered. This was discovered by a professional restorer, who returned it to the original state, and uncovered the signature of Brown. Born in Boston, descendent of Cotton and Increase Mather, studied under Gilbert Stuart, went to London with a letter of introduction to Benjamin West from Benjamin Franklin. Thomas Jefferson, American Ambassador to France, chose Mather Brown to paint his portrait, which was copied for John Adams at his request. Adams then commissioned a portrait of himself.
Thomaston Place Auction Galleries
Oct. 01, 2020
Attributed to Mather Brown (British, 1761-1831)
Est: £2,000 - £3,000
Attributed to Mather Brown (British, 1761-1831) Portrait of Henrietta Jeaffreson (d. 1826) half-length, in black, in an elaborate turban and pink roses at her breast oil on canvas 75 x 63cm Footnote: The sitter who was the daughter of Lieutenant Colonel John Robinson (d. 1772) married firstly Anthony, de jure 11th Viscount Gormanston, who died in 1786. She married secondly in 1794 Lieutenant General Christopher Jeaffreson of Dullingham. Provenance: By descent from the sitter, great-great-great-great-grandmother of the present owner.
Cheffins
Jul. 18, 2020
AFTER MATHER BROWN (UK/MA, 1761-1831)
Est: $6,000 - $8,000
AFTER MATHER BROWN (UK/MA, 1761-1831) Rare British Historic Reverse Glass Oil Painting, circa 1793, with integral verre eglomise mat, captioned "To the Honorable, The East India Company, This Plate representing the Delivery of the Definitive Treaty by the Hostage Princes into the hands of Lord Cornwallis, Is with Permission humbly Dedicated by their faithful and obedient Serv.t Mather Brown", with six-pointed star surround. Housed in the original gilt cove frame, OS: 29 1/4" x 40 1/4", SS: 23" x 34". Losses in the background, figures are generally good, portraits are intact, crazing to frame.
Thomaston Place Auction Galleries
Feb. 12, 2020
Attributed to Mather Brown (Boston 1761-1831 London) Portrait of Lieutenant-General Richard England, half-length, in military uniform
Est: £1,000 - £1,500
Attributed to Mather Brown (Boston 1761-1831 London) Portrait of Lieutenant-General Richard England, half-length, in military uniform oil on canvas 91.2 x 71cm (35 7/8 x 27 15/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 25, 2019
* Brown (Mather, 1761-1831). Half-length portrait of an unidentified man
Est: £300 - £500
* Brown (Mather, 1761-1831). Half-length portrait of an unidentified gentleman, possibly a member of the Collingwood family, circa 1800, oil on canvas, unsigned, relined, 75 x 62 cm (29.5 x 24.5 ins), old typed label to wooden stretcher verso, with erroneous attribution to John Trumbull (Qty: 1)
Dominic Winter Auctions
Apr. 10, 2019
* Attributed to Mather Brown (Boston 1761-1831 London) Portrait of Lieutenant-General Richard England, half-length, in military uniform
Est: £4,000 - £6,000
Attributed to Mather Brown (Boston 1761-1831 London) Portrait of Lieutenant-General Richard England, half-length, in military uniform oil on canvas91.2 x 71cm (35 7/8 x 27 15/16in). Lieutenant-General Richard James England (1745-1812) spent much of his military career in North America. He fought at the Battle of Bunker Hill (1775) and at the Battles of Saratoga during the American Revolutionary War where he was taken prisoner. He married Anne O'Brien by whom he had three children and died in London in 1812.
Bonhams
Oct. 24, 2018
* ATTRIBUTED TO MATHER BROWN (BOSTON 1761-1831 - LONDON)
Est: £8,000 - £12,000
* ATTRIBUTED TO MATHER BROWN (BOSTON 1761-1831 LONDON) Portrait of General Officer Richard England, half-length, in military uniform oil on canvas 91.2 x 71cm (35 7/8 x 27 15/16in).
Bonhams
Nov. 30, 2017
Follower of Mather Brown (American, 1761-1831) Portrait of Charles Kerrison of Kirsteadoil on canvas,
Est: £200 - £300
Follower of Mather Brown (American, 1761-1831) Portrait of Charles Kerrison of Kirstead oil on canvas, attributed to hand written label attached verso, unframed, the canvas stamped ''R. W. King Picture Liner &r Norwich'' 30 x 24 7/8in. (76.2 x 63.2cm.)
Martel Maides
Sep. 07, 2017
Follower of Mather Brown (American, 1761-1831) Portrait of Charles Kerrison of Kirsteadoil on canvas,
Est: £300 - £400
Follower of Mather Brown (American, 1761-1831) Portrait of Charles Kerrison of Kirstead oil on canvas, attributed to hand written label attached verso, unframed, the canvas stamped 'R. W. King Picture Liner &r Norwich' 30 x 24 7/8in. (76.2 x 63.2cm.) * Condition: Not relined. Unframed. Picture appears to have been cleaned and re-varnished relatively recently. There is some bitumenisation to the paint to the red backdrop and black areas on coat. When examined under UV, some light retouches can be seen around the edges of the white waistcoat and two or three to the cravat. There are more extensive small retouches to craquelure on the black areas, particularly the lower areas and right shoulder.
Martel Maides
Oct. 28, 2016
Mather Brown
Est: $4,000 - $6,000
Mather Brown Am./Br. 1761-1831 Children in Need Right image signed "Mather Brown" l.r. Oil on canvas 22 3/4 x 17 1/2 in. 57.8 x 44.5 cm Property of Debra and Kenneth Gulnick
Barridoff Auctions
Sep. 14, 2016
Mather Brown (Boston 1761-1831 London)
Est: £1,500 - £2,000
Mather Brown (Boston 1761-1831 London) Portrait of George Fermor, 3rd Earl of Pomfret (1768-1830), half-length,... oil on canvas 30 x 25 in. (76.2 x 63.5 cm.)
Christie's
Apr. 30, 2016
ATTRIBUTED TO MATHER BROWN (1761-1831): PORTRAIT OF SIR ROGER HALE SHEAFFE
Est: $1,500 - $3,000
ATTRIBUTED TO MATHER BROWN (1761-1831): PORTRAIT OF SIR ROGER HALE SHEAFFE Oil on canvas laid down on board, unsigned. 29 1/2 x 25 in., 35 1/2 x 30 1/2 in. (frame). Note: Sir Roger Hale Sheaffe (1763-1851) was born and educated in Boston. After the death of his father in 1771, Sheaffe's mother opened a boarding house to support her ten children. One of her lodgers during the War of Independence was Lord Percy, Duke of Northumberland and leader of the British forces in Boston. Percy was taken with the young Sheaffe's character and leadership potential and sent him to military school in London. Sheaffe served in the British military in Ireland and Canada before ending his career as a full General and retiring to Edinburgh. He was awarded a baronetcy in 1813 following a military victory at Queenston Heights, in Canada.
STAIR
Dec. 10, 2015
MATHER BROWN | Portrait of William Leyborne Popham, R.N. (died 1790), when aged seventeen, in naval uniform
Est: £15,000 - £20,000
oil on canvas
Sotheby's
Jun. 21, 2015
MATHER BROWN, (American, 1761-1831), SMUGGLERS PUSHING OFF THEIR BOAT, 1824, oil on canvas, 30 1/2 x 37 in.342 (frame: 39 x 45 in.)
Est: $2,000 - $4,000
MATHER BROWN (American, 1761-1831) SMUGGLERS PUSHING OFF THEIR BOAT 1824, oil on canvas signed Mather Brown, l.c. 30 1/2 x 37 in. (frame: 39 x 45 in.) Provenance: Likely "Smugglers Launching a Boat," no. 39 in Edward Foster's July 14, 1831 sale; sold to "Heath"; Property of a Private Collection, Goethenburg, Sweden; The Boston Art Club. Exhibitions: Society of British Artists, London, 1824, no. 294.; Vose Galleries (label verso). Literature: Evans, Dorinda, Mather Brown, Early American Artist in England, (Middletown, Connecticut, Weslyan University Press, 1982), cat. no. 303.
Grogan & Company
Nov. 16, 2013
Mather Brown of Leicester (1761-1831) Portrait of
Est: £400 - £600
Mather Brown of Leicester (1761-1831) Portrait of Charles Loraine-Smith, wearing period costume with a white shirt and cream bow tie, circa 1833 Inscribed verso, oil on canvas, 74cm by 62cm In original untouched condition, in a glazed picture frame. Covered in a thick layer of dirt and discoloured varnish, some minor paint losses to the outer edges of the canvas, has not been examined under a uv light
Tennants
Oct. 27, 2013
Mather Brown (American, 1761-1831) Portrait of a Gentleman. Indistinctly inscribed "M. Brown Esqr/...Mrs. Wood..." on the stretcher. Oi
Est: $2,000 - $3,000
Mather Brown (American, 1761-1831) Portrait of a Gentleman. Indistinctly inscribed "M. Brown Esqr/...Mrs. Wood..." on the stretcher. Oil on canvas, 30 x 25 1/4 in., in a later carved, painted, and gilded wood frame. Condition: Linen canvas re-stretched and stapled, light craquelure with small paint loss u.l., and losses near bottom edge.
Skinner
Sep. 24, 2013
* Mather Brown, (American, 1761-1831), Colonel MacColery
Est: $3,000 - $5,000
Mather Brown (American, 1761-1831) Colonel MacColery oil on canvas 30 x 25 3/8 inches.
Hindman
Sep. 18, 2013
Attr. to Mather Brown, "Gentleman Wearing a Green
Est: $1,200 - $1,800
Attr. to Mather Brown, "Gentleman Wearing a Green Coat with Gold Buttons, a Yellow Waistcoat" oil on canvas. Unsigned. Canvas: 30''H x 25''W; Frame: 35.75''H x 31.25''W. Provenance: Sotheby's Arcade, July 16 1998, Lot 46. Mather Brown (American/British, 1761- 1831).
Dallas Auction Gallery
Jul. 05, 2013
Attributed to Mather Brown (Boston 1761-1831 London)
Est: -
Attributed to Mather Brown (Boston 1761-1831 London) Portrait of John Smeaton (1724-1792), three-quarter-length, seated with the Eddystone Lighthouse, Devon in the background the stretcher with inscription 'Constructor of the Eddystone lighthouse' oil on canvas 30 x 25 3/8 in. (76.2 x 64.3 cm.) with an engraving of the same subject, engraved by R. Woodman. two in the lot (2)
Christie's
Oct. 01, 2011
After Mather Brown (American/British, 1761-1831)
Est: $2,500 - $4,000
< b > After Mather Brown (American/British, 1761-1831) < /b > "King Louis XVI of France Saying Farewell to his Family", oil on canvas, 19th Century, unsigned, 40" x 49-1/2". Presented in a contemporary ebonized frame. An engraving of the painting was published by Fisher of London in 1846, in < i > The Gallery of Engravings < /i > , edited by C.H. Timperley.
New Orleans Auction Galleries
Jun. 21, 2011
Attributed to MATHER BROWN (American, 1761-1831)
Est: $3,000 - $5,000
Attributed to MATHER BROWN (American, 1761-1831) Portrait of a Lady, said to be Mrs. Partridge oil on canvas 36 x 28 in. (91.4 x 71.1 cm.)
Christie's
Mar. 08, 2011
Attributed to Mather Brown (Boston 1761-1831 London)
Est: £1,500 - £2,000
Attributed to Mather Brown (Boston 1761-1831 London) Portrait of a gentleman, half-length, in a blue coat and gold-trimmed red waistcoat oil on canvas 30 x 25 in. (76.2 x 63.5 cm.)
Christie's