James Latham Paintings & Artwork for Sale | James Latham Art Value Price Guide

Oct. 19, 2021
JAMES LATHAM (1696-1747) A Portrait of an Architect and his Son Oil on canvas, 90 x 110cm In a fine carved and gilded eighteenth-century frame Provenance: Private collection for at least the last two decades. Something of a speciality
Est: €15,000 - €20,000
JAMES LATHAM (1696-1747) A Portrait of an Architect and his Son Oil on canvas, 90 x 110cm In a fine carved and gilded eighteenth-century frame Provenance: Private collection for at least the last two decades. Something of a speciality of James Latham, the leading portrait painter in Dublin for much of the first half of the eighteenth century, was the double portrait in a landscape-shaped canvas. This trademark compositional form was an unusual, though not unprecedented, format. Examples comparable to the present work include a family group at Fota, County Cork, Two Ladies of the Leslie Family (private collection) and Bishop Clayton and his Wife (National Gallery of Ireland). Here Latham depicts an architect sitting at a table covered by a richly textured fabric who is pointing out a design to a young boy, presumably his son. The architectural drawing includes a star-fort, presumably suggesting that the sitter was a military architect. Intriguingly, in this gesture combining paternal and professional solicitude, Latham anticipates by at least two decades Sir Joshua Reynolds portrait of the architect James Paine and his son (Ashmolean Museum, Oxford). Latham was born in Tipperary, but, by 1724, he is recorded as a member of the Antwerp Guild of Painters and on his return home he brought a quite new European sophistication to Irish portraiture. Anne Crookshanks acute comments on Lathams manner of painting could have been written with this robustly characterised, but elegantly executed, piece of portraiture specifically in mind: There is nothing sour-faced about Latham. He puts on his paint with direct firm strokes, he enjoys colour when it comes his way and tone when it doesnt, he has a strong feeling for form and all his sitters are alive and vigorous but the details are often applied with unexpected delicacy.
Adam's
Jun. 15, 2021
JAMES LATHAM
Est: €2,000 - €3,000
(Thurles, 1696 - Dublino, 1747) Ritratto di gentiluomo Olio su tela, cm 75,5X63,5 Provenienza: Torino Galleria Zabert Torino, Collezione privata Bibliografia: Gilberto Zabert, Dipinti dal XVI ; XIX Secolo, Torino novembre ; dicembre 1989, n. 19 Formatosi a Dublino, il pittore è documentato ad Anversa negli anni 1724-1725 dove divenne maestro della Corporazione di San Luca. Rientrato in patria si dedicì con straordinario successo all'attività di ritrattista, esprimendo una eccellente qualità pittorica ed espressiva con esiti prossimi a quelli di William Hogarth, artefice con cui fu spesso confuso. A tale proposito, nel nostro caso si osservi la tridimensionalità del panneggio rosso che illusionisticamente pare emergere dal quadro, così la leggerezza serica con cui è descritta la parrucca. Questi aspetti inducono di conseguenza a ipotizzare un'influenza diretta da parte di Hogarth, verosimilmente avvenuta nel 1740 quando l'artista soggiornì a Londra. Molti dei ritratti di James Latham sono nella collezione della National Gallery of Ireland a Dublino, uno raffigura il deputato Charles Tottenham (1694 - 1758) di New Ross, Co. Wexford, Tottenham in his Boots (Cat. N. 411) e un secondo è il ritratto del vescovo Robert Clayton (1697 - 1758) e di sua moglie Katherine (cat. n. 4370), mentre nel 1947 la London Tate Gallery acquistì il ritratto di Sir Capel Molyneux di Latham (rif. N05801). Bibliografia di riferimento: E. Einberg, J. Egerton, The Age of Hogarth: British Painters Born 1675-1709, London 1988, ad vocem
Wannenes Art Auctions
Oct. 15, 2019
JAMES LATHAM (1696 - 1747)Portrait of a gentleman with powered wig and brown overcoatOil on canvas, 75.7 x 62.3cmWithin a feigned oval Provenance: Christies London, 'The Irish Sale', May 15th 2003, lot no.9
Est: €4,000 - €6,000
JAMES LATHAM (1696 - 1747)Portrait of a gentleman with powered wig and brown overcoatOil on canvas, 75.7 x 62.3cmWithin a feigned oval Provenance: Christies London, 'The Irish Sale', May 15th 2003, lot no.9
Adam's
Nov. 25, 2015
James Latham (Irish 1696-1747)/18th Century Portrait of a Young Man/half length, wearing a green coat/in a painted oval/oil on canvas, 76cm x 64cm/see illustration
Est: £800 - £1,000
James Latham (Irish 1696-1747)/18th Century Portrait of a Young Man/half length, wearing a green coat/in a painted oval/oil on canvas, 76cm x 64cm/see illustration
Chorley's
May. 19, 2015
James Latham (Irish 1696-1747)/Portrait of a Young
Est: £2,000 - £3,000
James Latham (Irish 1696-1747)/Portrait of a Young Man/half length, wearing a green coat/painted oval/oil on canvas, 76cm x 64cm
Chorley's
Feb. 26, 2014
James Latham, (1696 - 1797)
Est: €2,500 - €3,500
James Latham, (1696 - 1797) Portrait of John Flood of Farhley, Co. Kilkenny: Lt. Col.Kilkenny Dragoons, Oil on canvas , Provenance: The Estate of Peter Richard Solly-Flood, Ballyduff House until 1990, then shipped to Montreal, Canada Similar portrait see Crookshank and Glin p. 36
Sheppards
Dec. 03, 2013
Circle of James Latham (Tipperary 1696-1747 Dublin)
Est: £1,000 - £1,500
Circle of James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, three-quarter-length, in a rust coat, his left hand resting on the hilt of a sword, in an interior oil on canvas laid down on board 47½ x 38¼ in. (120.6 x 97.2 cm)
Christie's
Oct. 25, 2012
Circle of James Latham (Irish, 1696-1747) Three quarter length portrait of a gentleman, 47 x 38in.
Est: £1,000 - £1,500
Circle of James Latham (Irish, 1696-1747) oil on canvas, Three quarter length portrait of a gentleman, 47 x 38in.
Gorringes
Oct. 09, 2012
ATTRIBUTED TO JAMES LATHAM (1696-1747) Half Length
Est: €2,000 - €4,000
ATTRIBUTED TO JAMES LATHAM (1696-1747) Half Length Portrait of Lady Johnson, née Nugent, Dunore, in a painted oval holding an apple Oil on canvas, 76 x 61cm Contained in a giltwood kit kat frame
Adam's
Sep. 06, 2012
Circle of James Latham (Irish, 1696-1747) Three quarter length portrait of a gentleman, 47 x 38in.
Est: £4,000 - £6,000
Circle of James Latham (Irish, 1696-1747) oil on canvas, Three quarter length portrait of a gentleman, 47 x 38in.
Gorringes
Oct. 11, 2011
Attributed to JAMES LATHAM (1696-1747) Portrait of
Est: €1,000 - €2,000
Attributed to JAMES LATHAM (1696-1747) Portrait of a Man with Brown Wig and Wearing a Blue Velvet Coat and Undercoat with White Silk Tassel stock, later inscribed 'Aland Mason MP' Oil on canvas, 77 x 64cm unframed Note : Aland Mason 1714-1759 was a member of parliament for Co. Waterford. His mother Sarah Aland, was an heiress. He married the rich Elizabeth Villiers heiress to Lord Grandison who was created Viscountess Grandison in her own right in 1746. His son George Mason Villiers became the 2nd Earl of Grandison
Adam's
Jul. 14, 2011
James Latham (Tipperary 1696-1747 Dublin)
Est: £10,000 - £15,000
James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, half-length, in a silver brocaded mantle, in a painted oval oil on canvas 30¼ x 25¼ in. (76.8 x 64.1 cm.)
Christie's
Jul. 14, 2011
Attributed to James Latham (Tipperary 1696-1747 Dublin)
Est: £3,000 - £5,000
Attributed to James Latham (Tipperary 1696-1747 Dublin) Portrait of a Sarah Cosby, small full-length, in a blue dress, seated in a wooded landscape with a dog in her lap oil on canvas 29¾ x 25 in. (75.5 x 63.5 cm.)
Christie's
Apr. 13, 2011
Attributed to James Latham (Tipperary 1696-1747 Dublin)
Est: £1,000 - £1,500
Attributed to James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, bust-length, in a black coat and green waistcoat oil on canvas, unframed 30 x 24 7/8 in. (76.2 x 63.3 cm.)
Christie's
Nov. 16, 2010
James Latham Portrait of a gentleman, a member of
Est: €1,000 - €1,500
James Latham Portrait of a gentleman, a member of the Gore family Provenance; by descent in the family of the sitter 30 x 25 inches
Adam's
Nov. 16, 2010
James Latham Portrait of a gentleman in a brown
Est: €1,000 - €1,500
James Latham Portrait of a gentleman in a brown cloak, a member of the Gore Family of castle Gore, Co. Mayo and Newtown Gore, Co. Leitrim Provenance; by descent in the family of the sitter 30 x 25 inches
Adam's
Oct. 05, 2010
Attributed to James Latham (1696-1747) Portrait of
Est: €25,000 - €35,000
Attributed to James Latham (1696-1747) Portrait of Theodosia Bligh, Countess of Glandore, the young woman in a white dress, seated, playing a harpsicord, with sheets of music Oil on canvas, 105 x 145cm In an 18th Century giltwood, sanded and carved frame. The depiction of a lady or ladies seated at a harpsicord was a favoured composition by Latham. He also painted the sitters' sister and uncle (see Crookshank, Irish Arts Review, 1988, no. 3 and no. 59) Theodosia Bligh was the daughter of John Bligh of Athboy, made Earl of Darnley on his marriage to the English heiress Ann Hyde. She married William Crosbie of Ardert Abbey, who late in life was made Earl of Glandore. Her sister, Mary Bligh married William Tighe of Rosanna, which explains the presence of this portrait in the present collection. Ardfert Abbey was an interesting early 18th Century house in County Kerry, now demolished. Its greatest treasure was Reynold's wonderful 'swagger' portrait of Theodosia's daughter-in-law, the dizzy Diana Sackville, who, notoriously reluctant or unable to honour her gaming debts, was given the soubriquet "Owing Glandore".
Adam's
May. 07, 2009
James Latham (1696-1747)
Est: £10,000 - £15,000
James Latham (1696-1747) Portrait of a lady, three-quarter-length, seated, in a blue dress and a straw hat, holding a rose oil on canvas 50 x 40 in. (127 x 101.7 cm.)
Christie's
Apr. 28, 2009
Circle of James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, purported to be Sir Arthur Gore of Newton Gore,
Est: £600 - £800
Portrait of a gentleman, purported to be Sir Arthur Gore of Newton Gore, bust-length, in judge's robes, within a painted oval oil on canvas 85 x 68.5cm (33 7/16 x 26 15/16in).
Bonhams
Jan. 21, 2009
Circle of James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, purported to be Sir Arthur Gore of Newton Gore, 85 x 68.5cm.
Est: £1,000 - £1,500
Portrait of a gentleman, purported to be Sir Arthur Gore of Newton Gore, bust-length, in judge's robes, within a painted oval Oil on canvas 85 x 68.5cm.
Bonhams
Jul. 11, 2008
Portrait of a gentleman, bust-length, in a black coat and green waistcoat
Est: £2,000 - £3,000
Attributed to James Latham (Tipperary 1696-1747 Dublin) Portrait of a gentleman, bust-length, in a black coat and green waistcoat oil on canvas, unframed 30 x 24 7/8 in. (76.2 x 63.3 cm.)
Christie's
May. 09, 2007
c - James Latham 1696-1747 , Portrait of a gentleman
Est: £4,000 - £6,000
Half length, wearing a grey coat and a gold waistcoat Oil on canvas, in a painted oval
Sotheby's
Oct. 17, 2006
James Latham (County Tipperary 1696-1747 Dublin)
Est: $6,000 - $8,000
Portrait of a lady, half-length, wearing a blue silk dress with a spray of flowers and a straw hat, in a painted oval oil on canvas 30 3/4 x 25 1/2 in. (78.1 x 64.8 cm.)
Christie's
May. 14, 2004
James Latham (1696-1747)
Est: £15,000 - £20,000
Portrait of Dudley Alexander Sydney Cosby, Lord Sydney of Leix, (1730-1774), when six years old, half-length, in a blue suit, by a rosebush, a dog at his side with identifying inscription on a label on the reverse 'The Picture of Dudley Alexander Sydney Cosby (afterward/Lord Sydney), only son of Pole Cosby and Mary/his wife, drawn in the 6th year of his age.' oil on canvas 29 1/2 x 33 3/4 in. (75.5 x 86 cm.)
Christie's
May. 15, 2003
James Latham (1696-1747)
Est: $8,200 - $13,120
Portrait of a gentleman, half-length, in a brown coat, feigned oval oil on canvas 293/4 x 241/2 in. (75.7 x 62.3 cm.).
Christie's
May. 17, 2002
James Latham (1696-1747)
Est: $29,200 - $43,800
Portrait of a gentleman, previously thought to be a self portrait of the artist, bust-length, in a silver brocaded jacket, painted oval oil on canvas 291/2 x 241/2 in. (75 x 62.2 cm.) NOTES James Latham was the most distinguished Irish portrait painter of the first half of the 18th Century. However, there is only enough documentary evidence to furnish a bare outline of his life and career. The first writer to mention him is the Rev. Thomas Campbell who wrote in 1777 that 'he had seen very good portraits here [Ireland], those of Latham are admirable and far superior to Mr. Jervase' ( Philosophical Survey of the South of Ireland, London, 1777, p.439). Anthony Pasquin, writing in the 1790s, gives the most information about him recording that Latham came from Co. Tipperary and that he travelled to Antwerp, where he is recorded in the records of the Guild of St. Luke as a member in 1724/5 ( Memoirs of the Royal Academicians and and Authentic History of the Artists of Ireland..., London, 1796, p.29). Latham is next mentioned in Walsh's History of the City of Dublin which repeats much of what Pasquin had said but adds that he was working in Dublin from 1725 commenting that 'some of his pictures would do honour to a modern painter for colour, breadth, facility of execution and good drawing' (London, 1818, II, p. 1179). Little is known of his training or his influences. It has been suggested, on stylistic grounds, that he may have received some training from his fellow Irish artist Garret Morphey or at the least have been greatly influenced by examples of the latter's art which were to be found on the walls of many country houses in Ireland. It is also thought likely that he visited England at some point during his career where he may well have had contact with some of the leading portraitists of the day such as Charles Jervas, Joseph Highmore and Michael Dahl, although no evidence of such a trip exists. Identification of his work hinges on comparison with two portraits which are securely identified from engravings; his portrait of Bishop Berkeley of Cloyne (Trinity College, Dublin) which was engraved in mezzotint by John Brooks in 1743, and his full-length portrait of Eaton Stannard, as Recorder of Dublin (National Gallery of Ireland). This portrait has in the past been identified as a self-portrait of the artist. Pasquin records a self portrait by Latham which he ahd seen in the collection of Philip Hussey, of Dublin 'which was exceedingly valued by the possessor'. That self portrait is, however, thought most likely to correlate with the portrait now in the National Gallery of Ireland (A. Crookshank, 'James Latham', Irish Arts Review, 1988, p. 71, no. 70). This portrait, with its skillful rendering of the embroidery of the sitter's costume, is characteristic of the artist's portraiture of the 1740s. To be included in Anne Crookshank and the Knight of Glin's forthcoming......... to be published in.......
Christie's
Oct. 18, 2001
JAMES LATHAM (Tipperary 1696-1747 Dublin)
Est: $4,000 - $6,000
Portrait of General John Adlercron (d.1766), half-length, in an embroidered gold waistcoat and a blue jacket, wearing gloves with inscription 'Gen. l John Adlercron. alias Trepaud Commander in Chief in the East Indies from the year 1753 to 1758 (lower left) oil on canvas 30 x 25 in. (76.2 x 63.5 cm.) NOTES General John Adlercron was a member of a Huguenot family (Trepaud) whose ancestors had taken refuge in Dublin at the end of the 17th century. A career soldier, as Colonel of the 39th Regiment of Foot, he saw much service in India under Lord Clive and was Commander in Chief in the East Indies from 1753-8. He resided at Newton on the Strand, Dublin and in April 1762 entertained to dinner, the Lord Lieutenant of the day, the 1st Earl of Halifax. There, in July 1766 after eating a hearty dinner, he died of an apoplectic fit. His wife, who also belonged to a Huguenot family and was a daughter of an officer, Lieutenant-Colonel John Arabin, survived him together with two sons both of whom entered the army (see lot 39).
Christie's
Apr. 12, 1995
JAMES LATHAM (1696-1747) PORTRAIT OF MARY, WIFE OF EDWARD, 9TH DUKE OF NORFOLK
Est: $31,770 - $47,655
Full length, standing by an urn of carnations, wearing a white dress with red robes Oil on canvas 190.5 by 135 cm.; 75 by 53 in. The sitter was the daughter and co-heir of Edward Blount of Blagdon, Devon, the early patron and correspondent of Pope. In 1727 she married Edward, 9th Duke of Norfolk (1686-1777), and together they played an active role in the fashionable social world. The Duchess in particular was gregarious and hospitable, and their circle was not restricted to Roman Catholics. "Her house was the centre of whatever was great and elegant, in either communion; and by familiarising them with one another, their prejudices were softened, and their mutual good will encreased". They were received at the Court of George II, tacit recognition of the fact that the Duke's Jacobite past was forgiven and forgotten. Lady Irwin wrote in January 1733. The Duke and Duchess of Norfolk were at Court on Friday where they were received with great distinction. The Duchess, who is a sensible woman, and must act the man where talking is necessary, behaved much to her credit; she assured the Queen, though she and the Duke were of different religion, they had as much duty and regard for the King as any of his subjects, and should be glad of every occasion that gave "em opportunity to show it". She was intelligent, energetic, charming, an ardent Catholic and something of a francophile who visited the Continent frequently and was received at the French Court by Louis XV. She was also rather formidable, and Horace Walpole referred to her as "My Lord, Duchess". She was considered the finest needlewoman of her day, as the long series of chair covers at Arundel still testifies, and a fine portrait of the Duke of Duchess by Vanderbank shows her with her needlework frame. EXHIBITED Royal Hibernian Academy, Winter Exhibition of Old Masters, 1902/3.
Sotheby's