ATTRIBUTED TO GEORGE HENRY HARLOW (BRITISH 1787-1819) A YOUNG WOMAN RESTING BY A WALL Oil on panel21.5 x 17cm (8¼ x 6½ in.)Provenance: Prof. Julius Held (1905-2002), New York Sale, Christie's, New York, 27 January 2009, lot 58Private Collection, UK George Harlow studied first under Hendrik Frans de Cort, then with Samuel Drummond, before joining Thomas Lawrence's studio apparently on the advice of the Duchess of Devonshire, who had noticed his talent. In 1818, Harlow travelled to Italy where he was widely admired for his technical ability. He was befriended by the sculptor Antonio Canova and earned considerable acclaim in Rome by painting a full-size copy of Raphael's Transfiguration, a feat that resulted in his election as an Academician of Merit in the Accademia di San Luca in Rome, a rare accolade for an English artist. The picture formed part of the large and fascinating collection assembled by Professor Julius Held. Born in Germany, Held emigrated to the United States in 1934 and became a towering figure in art historical circles, widely recognised for his scholarship and expertise on Rubens, Rembrandt, and Van Dyck. An author of many articles and books, including the 1980 two-volume publication The Oil Sketches of Sir Peter Paul Rubens.
George Henry Harlow (1787-1819). Young lady sitting in an armchair, late 18th - early 19th century. Watercolour on paper, size 30 x 21,5 cm (11 3/4 x 8 1/2 inches). Frame dimensions 48 x 40 cm (19 x 15 3/4 inches). Signed on the verso. George born in London in 1787. His predilection for painting was discovered at an early age, and he was given instruction in it from childhood. He studied successively under Hendrik de Cart, Samuel Drummond and Sir Thomas Lawrence, the last of whom inspired him to become a portrait painter. He exhibited at the Royal Academy from 1805 until 1819, in which year he died.
George Henry Harlow (1787-1819). Young lady sitting in an armchair, late 18th - early 19th century. Watercolour on paper, size 35,5 x 25,5 cm (14 x 10 inches). Frame dimensions 52 x 42 cm (20 1/2 x 16 1/2 inches). Signed on the verso. George born in London in 1787. His predilection for painting was discovered at an early age, and he was given instruction in it from childhood. He studied successively under Hendrik de Cart, Samuel Drummond and Sir Thomas Lawrence, the last of whom inspired him to become a portrait painter. He exhibited at the Royal Academy from 1805 until 1819, in which year he died.
GEORGE HENRY HARLOW (BRITISH 1787-1819)PORTRAIT OF MRS. ROBINSON AND HER SONOil on canvas118.5 x 101.5cm (46½ x 39¾ in.)Provenance:Private collection, Euridge Manor, Wiltshire, where purchased by Count Manfredi della GherardescaExhibited:Galerie Charpentier, Paris, Cent Portraits de Femmes, 1950Bernheim-Jeune, Paris, Peintres de Portraits, 1952Harlow first trained under Samuel Drummond, but after a year entered the studio of Sir Thomas Lawrence, copying his pictures, and occasionally drawing preliminary portions of Lawrence's own productions. While Harlow's portraits are greatly indebted to Lawrence's style, they have a distinct character of their own. He first exhibited at the Royal Academy in 1804 and soon became known for his paintings of actors and actresses, many of which can be found in the Royal Shakespeare Theatre. His work is also represented in important museum collections such as the Victoria & Albert Museum and the National Portrait Gallery.
GEORGE HENRY HARLOW (ENGLISH 1787-1819)PORTRAIT OF DAME CATHERINE 'KITTY' BOLTONOil on canvas51.5 x 34.5cm (20¼ x 13½ in.)Kitty Bolton was born at Wells-next-the-Sea Norfolk, daughter of Susannah Bolton, the sister of Admiral Horatio Nelson. She married her first cousin Captain Sir William Bolton on 18th May 1803 at the Piccadilly home of Emma Hamilton. Nelson's sister Charlotte (later Duchess of Brontë) and Emma's daughter Emma Carew were witnesses. Kitty is depicted here in what is probably her wedding gown, she wears Neapolitan coral bracelets and an unusual coral wedding ring, perhaps a gift from Lady Hamilton and Nelson, recently returned from Naples.
George Henry Harlow British, 1787-1819 Portrait of George Innes who arrived in Australia in 1825 oil on board attributed and titled to verso with various attached labels see photos George Inness is recorded as having emigrated to Australia from Scotland in 1825 and died here in 1840. Provenance: Timothy Potter Limited, New Bond street, London. July 2000.
George Henry Harlow (British, 1787-1819), "Lady Grenville (1772-1864)", oil on canvas, unsigned, "Galerie Sedelmeyer, Paris" wax stamp and remnants of label on stretcher, artist and title plaque from previous framing attached to reverse of frame, 30 in. x 25 in., framed, overall 36 3/8 in. x 31 1/2 in. x 1 3/4 in.Provenance: Galerie Sedelmeyer, Paris.Note: Lady Grenville was born Anne Pitt in 1772, the daughter of Thomas Pitt, first Baron of Camelford and his wife Anne Wilkinson. The Pitt family was highly influential in politics with Anne’s great uncle William Pitt serving as Great Britain’s Prime Minister from 1766 to 1768, followed by his son, William Pitt the Younger, who served as Prime Minister from 1804 to 1806. The Pitt family was already linked by a previous marriage to the Grenville family when Anne married William Grenville, first Baron of Grenville in 1792 when she was twenty years of age. Her soon-to-be husband’s uncle, George Nugent-Temple-Grenville, first Marquess of Buckingham provided a dowery of £20,000, a very generous sum, for Anne to marry Grenville. Shortly before her marriage, Pitt posed as Hebe for a portrait by Élisabeth Vigée Le Brun. Lady Grenville’s husband William Grenville served as Prime Minister from the period 1806 to 1807, during which time the British slave trade was abolished – a feat considered Grenville’s greatest accomplishment. Grenville was then the Chancellor of the University of Oxford from 1810 until his death in 1834 at the age of seventy-four. Anne died in 1864 without issue, which resulted in the extinction of the Baron of Grenville title.
Attributed to George Henry Harlow (1787 - 1819) "Portrait of a Gentleman, half-length, seated, in a brown coat and holding his pince-nez in one hand and a letter in the other" Oil on Canvas. Artist: Attrib George Henry Harlow Title: Portrait of a Gentleman Medium: Oil on Canvas Signature Type: Unsigned Keywords: Antique, portrait, British; Ref: BD1595
Property of a gentlemanAttributed to George Henry Harlow (1787 - 1819)A portrait of a young girlOil on canvasDimensions:(Canvas) 21.5 in. (H) x 19 in. (W)(Frame) 26 in. (H) x 23 in. (W)
Titled: Antique Portrait of a young woman. Frame is in good condition. Frame measures approximately 26in x 22in. Image measures approximately 20.5in x 16.5in. Used condition. Unsigned. 715 SA
Attributed to GEORGE HENRY HARLOW (1787 - 1819) Love Sick-portrait of young woman holding miniature portrait Oil on canvas Apparently unsigned verso inscribed on stretcher "Love Sick" 30 inches x 25 inches and contained in carved gilt-wood Georgian style frame SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
George Henry Harlow (London 1787-1819) A portrait of two girls, full-length, with a dog before a landscape oil on canvas 126.9 x 101.3cm (49 15/16 x 39 7/8in).
George Henry Harlow, British 1787-1819- Portrait of a lady; oil on canvas laid down on metal, 61 x 50.5 cm. Provenance: with Historical Portraits, London [MN397]. Note: Harlow was undeniably influenced by his experience working in the studio of Sir Thomas Lawrence (1769-1830). The present work is a charming and especially attractive example of Harlow's work, with the sitter looking boldly out at the viewer, thereby establishing a particularly engaging sense of her presence. The evocation of a sunset behind her creates a beguiling impression of dreaminess and ethereality.
GEORGE HENRY HARLOW (BRITISH 1787-1819)PORTRAIT OF MRS. ROBINSON AND HER SONOil on canvas118.5 x 101.5cm (46½ x 39¾ in.)Provenance:Private collection, Euridge Manor, WiltshireExhibited:Galerie Charpentier, Paris, Cent Portraits de Femmes, 1950Bernheim-Jeune, Paris, Peintres de Portraits, 1952Harlow first trained under Samuel Drummond, but after a year entered the studio of Sir Thomas Lawrence, copying his pictures, and occasionally drawing preliminary portions of Lawrence's own productions. While Harlow's portraits are greatly indebted to Lawrence's style, they have a distinct character of their own. He first exhibited at the Royal Academy in 1804 and soon became known for his paintings of actors and actresses, many of which can be found in the Royal Shakespeare Theatre. His work is also represented in important museum collections such as the Victoria & Albert Museum and the National Portrait Gallery.
GEORGE HENRY HARLOW (BRITISH 1787-1819)PORTRAIT OF A ROMAN LADYOil on canvasInscribed Rome 1818 (on the stretcher)59.5 x 44.5cm (23¼ x 17½ in.)Harlow painted this portrait in Rome in 1818 at the height of his powers. He would die a year later, aged just 31. He had trained in Lawrence's studio, but it was in Italy where his accomplishments and remarkable powers of execution made him the hero of the day. Canova was especially impressed, and organised an introduction to the Pope. Harlow was elected a member for merit of the Academy of St. Luke at Rome, a most unusual distinction for an English artist, and was invited to paint his own portrait for the Uffizi gallery. The present portrait, an intimate encounter with an unknown Roman lady was conceived in the same year.
Attributed to GEORGE HENRY HARLOW (1787 - 1819) Love Sick-portrait of young woman holding miniature portrait Oil on canvas Apparently unsigned verso inscribed on stretcher Love Sick 30 inches x 25 inches and contained in carved gilt-wood Georgian style frame SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
EARLY PORTRAIT PAINTING POSSIBLY BY GEORGE HENRY HARLOW: Oil/Canvas painting of Young Smiling Lass, 36'' x 27.75'', encased in a period carved and gilded foliate motif frame 40'' x 32'', no visible signature.
EARLY PORTRAIT PAINTING POSSIBLY BY GEORGE HENRY HARLOW: Oil/Canvas painting of Young Smiling Lass, 36" x 27.75", encased in a period carved and gilded foliate motif frame 40" x 32", no visible signature.
(British, 1787-1819) Portrait of Benjamin West, P.R.A., not apparently signed, oil on panel, 20-3/4 x 16-1/4 in.; gilt wood frame, 27-3/8 x 23-1/2 in. Note: H. von Erffa and A. Staley, The Paintings of Benjamin West, New Haven and London, 1986, p. 360, no. 353 (under note 12) For an engraving after the painting by James Fittler see: https://www.royalacademy.org.uk/art-artists/work-of-art/portrait-of-benjamin-west-p-r-a This painting was offered at Christie's New York,, October 5, 1995, Lot 35, as autograph by Harlow.
Circle of George Henry Harlow (London 1787-1819) Portrait of two boys in a landscape, one with a cricket bat oil on canvas 91 x 70cm (35 13/16 x 27 9/16in). For further information on this lot please visit the Bonhams website
GEORGE HENRY HARLOW (BRITISH, 1787-1819) THE CHISHOLM CHILDREN Oil on canvas: 15 1/4 x 13 1/4 in., 20 1/2 x 18 1/2 in. (framed) Framed; verso on stretcher inscribed: The Chisholm Children / Harlow
George Henry Harlow (British, 1787-1819), Young Girl with Lamb, oil on canvas, unsigned, artist plaque affixed to frame lower center, canvas: 29"h x 24"w, overall (with frame): 36"h x 31"w. Provenance: Purchased from auction in the 1980s to Private Collection (Sacramento, CA).
George Henry Harlow (British 1787-1819), Woman in White Hat, oil on canvas, artist plaque affixed to frame lower center, canvas: 33.5"h x 27.5"w, overall (with frame): 42"h x 36"w
GEORGE HENRY HARLOW (BRITISH, 1787-1819) LADY CAMPBELL AND CHILDREN Colored chalk and paper laid on board: 16 1/4 x 13 in. Framed; lower left signed and dated: G.H. HARLOW / 1818 pinxt; upper right titled: lady Campbell & Children; verso label
GEORGE HENRY HARLOW (BRITISH, 1787-1819) LADY CAMPBELL AND CHILDREN Colored chalk and paper laid on board: 16 1/4 x 13 in. Framed; lower left signed and dated: G.H. HARLOW / 1818 pinxt; upper right titled: lady Campbell & Children; verso label
GEORGE HENRY HARLOW (BRITISH, 1787-1819) LADY CAMPBELL AND CHILDREN Colored chalk and paper laid on board: 16 1/4 x 13 in. Framed; lower left signed and dated: G.H. HARLOW / 1818 pinxt; upper right titled: lady Campbell & Children; verso label
George Henry Harlow (English, 1787-1819) Captain John Robinson Francklin, circa 1805-1815 Oil on canvas 30" x 25" An oil portrait executed by George Henry Harlow, the esteemed portrait painter of the English Romantic period. Harlow began his career as a portrait artist in the studios of Samuel Drummond and Sir Thomas Lawrence. A headstrong temperament led to a fracture in his relationship with Lawrence, but his personal charm and immense talent led to a very fruitful career, popular in society if not always on good terms with the Royal Academy. Sadly, just as Harlow entered his mature period, his life ended prematurely at the age of 31 to an untreated glandular infection. (Source: Dictionary of National Biographies) The sitter for the portrait is identified by the tag to the reverse as John Robinson Francklin, the longtime captain of vessels including the Herculean (built 1799), the Alexander (built 1803), the Northumberland (built 1805), and the Windsor (built 1818). Many of Captain Francklin's voyages (also sometimes styled as "Franklin") were in the service of the British East India Company. A partially torn paper tag from the period affixed to the reverse of the original strainer is inscribed in cursive: "Captain John Robinson Francklin, Son of Michael Francklin, Leah [Gurmon?] of Nova Scotia, Born July 15, 1774 / Pai--- ... Harlow." The painting is presented in a 19th century frame-- possibly original to the piece-- measuring 32 3/4" x 27 1/2".
HARLOW; MEYER, 'Congratulation', Portrait of 2 young ladies, 19th century, Punktiemanier Technique: Etching on paper Size: 60,5 x 44,5 cm, Plate: 38,5 x 28,2 cm; Depiction: 24,5 x 19,3 cm Condition: With foxing spots spread over the sheet. The edges are creased and have isolated tears, the corners are bumped. With two small holes in the center of the left sheet margin. The graphic is in excellent condition, the print appears fresh. Description: After the painting by George Henry Harlow in the gallery of John Leicester, Bart. Signed on the left and right below the image in the printing plate, inscribed below: 'Congratulation. Nay! Turn not those dear eyes away, The tender truth is now reveal'd. The print was published in London on November 15, 1819. Keywords:
ARTIST: George Henry Harlow (United Kingdom, English, 1787 - 1819) NAME: Portrait of Young Woman MEDIUM: oil on canvas CONDITION: Relined. Two patches. Some craquelure. Some inpaintings (biggest 7x4" in upper right corner on the background). (see pictures carefully). SIGHT SIZE: 30 x 25 inches / 76 x 63 cm FRAME SIZE: unframed SIGNATURE: unsigned SIMILAR ARTISTS: Thomas Rowlandson, George Morland, George Chinnery, Edward Lear, William Beechey, John Constable, Rosa Marie (Rosalie) Bonheur, David Cox the Elder, George Romney, Thomas Gainsborough, William Callow CATEGORY: antique vintage painting SKU#: 117100 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: George Henry Harlow was born in St. James's Street, London, the posthumous son of a China merchant, who after some years' residence in the East had died about five months before his son's birth, leaving a widow with five infant daughters. Indulged and petted by his mother, Harlow was sent when quite young to Dr. Barrow's classical school in Soho Square, and subsequently to Mr. Roy's school in Burlington Street. He was for a short time at Westminster School, but having shown a predilection for painting, he was placed under Henry De Cort, the landscape-painter. He next worked under Samuel Drummond, A.R.A., the portrait-painter, but after about a year entered the studio of Sir Thomas Lawrence (president of the Royal Academy). This step is said to have been taken at the suggestion of Georgiana, duchess of Devonshire; but Harlow's natural affinity to Lawrence's style in painting would be quite sufficient to account for his choice. Harlow paid Lawrence handsomely for his admission and the right to copy, but according to the contract was not entitled to instruction. Harlow now determined to devote himself to painting, and refused an offer of a writership in the East India trade made by his father's friends. He remained for about eighteen months in Lawrence's studio, copying his pictures, and occasionally drawing preliminary portions of Lawrence's own productions. A difference about Harlow's work for one of Lawrence's pictures led to a breach with Lawrence, and Harlow rendered reconciliation impossible by painting a caricature signboard for an inn at Epsom in Lawrence's style and with Lawrence's initials affixed to it. Harlow henceforth pursued an original system of art education. He inveighed strongly against all academical rules and principles. Young, headstrong, and impatient of restraint, with a handsome person and amiable disposition, he was generally popular in society. He affected, however, an extravagance in dress far beyond his means, a superiority of knowledge, and a license of conversation which gave frequent offense even to those really interested in the development of his genius. His foibles led his friends to nickname him "Clarissa Harlowe." He worked, however, with industry and enthusiasm in his art. He possessed a power of rapid observation and a retentive memory which enabled him to perform astonishing feats, like that of painting a satisfactory portrait of a gentleman named Hare, lately dead, whom Harlow had only once met in the street. Though openly opposed to the Royal Academy, he was a candidate for academician, but he only received the vote of Henry Fuseli. He exhibited for the first time at the Academy in 1804, sending a portrait of Dr. Thornton. In later years he exhibited many other portraits. His practice in this line was extensive. His portraits are well conceived, and, though much in the manner and style of Lawrence, have a character of their own. His portraits of ladies were always graceful and pleasing. He was less successful, owing to his defective art-education, in historical painting, in which he aspired to excel. His first exhibited historical pictures were Queen Elizabeth striking the Earl of Essex, at the Royal Academy, 1807, and The Earl of Bolingbroke entering London, at the British Institution, 1808. In 1815 he painted Hubert and Prince Arthur for Mr. Leader, a picture subsequently exchanged for portraits of that gentleman's daughters. In 1814 he painted a group of portraits of Charles Mathews, the actor, in various characters, which attracted general attention. It was engraved by W. Greatbach for Yate's Life of Mathews. Harlow received a commission from Mr. Welch, the musician, to paint a portrait of Mrs. Siddons as Queen Katharine in Shakespeare's Henry VIII. This was commenced from memory, but subsequently the actress, at Mr. Welch's request, gave the painter a sitting. While painting the portrait, Harlow resolved to expand the picture into the "Trial Scene" from the same play, introducing portraits of the various members of the Kemble family and others. Mr. Welch, though not consulted by Harlow concerning this change of plan, behaved generously. The picture was exhibited at the Royal Academy in 1817, and excited great public interest. It was neither well composed nor well executed, and owed much to the criticism and suggestions of Fuseli, whose portrait Harlow was painting at the time. Still, the portrait of Mrs. Siddons herself as the queen will remain one of the most striking figures in English art. The fine engraving of it in mezzotint by George Clint has enhanced its reputation. The picture passed eventually into the possession of Mr. Morrison at Basildon Park, Berkshire. It was exhibited at Manchester in 1857. Harlow's next picture, The Virtue of Faith, at the Royal Academy, lacked originality, and had less success. It was purchased by his friend Mr. Tomkisson, who divided it into pieces for the sake of the heads. In 1818 Harlow, conscious of deficiencies in his executive powers, visited Italy to study the old masters. At Rome his personal gifts and accomplishments, and his remarkable powers of execution, made him the hero of the day. He was fГЄted and flattered in every direction. Canova was especially attracted by him, and obtained for him an introduction to the Pope. Harlow, however, worked very hard, and completed a copy of Raphael's Transfiguration in eighteen days. He was elected a member for merit of the Academy of St. Luke at Rome, a most unusual distinction for an English artist, and was invited to paint his own portrait for the Uffizi gallery of painters at Florence. He painted a picture of Wolsey receiving the Cardinal's Hat in Westminster Abbey, and presented it to the Academy at Rome. His artistic progress in Italy was remarkable, but on his return to England on 13 January 1819 he was seized with a glandular affection of the throat, which being neglected proved fatal on 4 February. He was in his thirty-second year. He was buried under the altar of St. James's, Piccadilly, and his funeral was attended by the eminent artists of the day. An exhibition of his principal works was held in Pall Mall. His collections, including many sketches, were sold by auction 21 June 1819. Harlow is one of the most attractive figures in the history of English painting. His works only suggest what lie might have achieved. Many of his portraits have been engraved, and those of James Northcote, Fuseli, Thomas Stothard, William Beechey, John Flaxman, and others are highly esteemed. His own portrait, painted by himself for the gallery at Florence, was engraved for Ranalli's Imperiale e Reale Galleria di Firenze. A drawing from it by J. Jackson, R.A., was bequeathed to the trustees of the National Portrait Gallery in 1888 by the painter's nephew, G. Harlow White. Another drawing by himself was engraved by B. Holl for the Library of the Fine Arts. His own portrait is introduced in the background in the picture of The Trial of Queen Katharine. A portrait of the Prince of Wales (afterwards George IV) by Harlow was engraved in mezzotint by W. Ward.
Attributed to George Henry Harlow (1787-1819) - Portrait of Lady Eliza Louise Moresby The subject is identified in a later hand verso as Lady Moresby, wife of Admiral Sir Fairfax Moresby. Admiral Moresby (1786-1877) had a long and distinguished career spent defending the Crown's global empire. One of his career highlights was the 1822 Moresby Treaty, which was an anti-slavery agreement between Britain and Sayyid Said, Sultan of Muscat. Port Moresby in Papua New Guinea and Moresby Island in British Columbia were named after him. He married Eliza Louisa, daughter of John Williams of Bakewell, Derbyshire, in 1814. Together they had three sons and two daughters. Provenance: Family records indicate the painting was purchased at Christie's in London in 1989 as a G.H. Harlow. A Westchester County, New York Estate. 715 x 590mm
(United Kingdom, 1787-1819) Oil on tin portraits dated 1797. The pair having been signed on verso by the artist and titled G. Wright Esq and His Wife and Daughter 1797. Nicely framed in gilt frames. Some slight losses to metal surface of each. H8 1/4" W6 3/4" (without frame) Sold from the collection of Mrs. Joanne Pirkle of Buckhead, Atlanta Georgia.
George Henry Harlow (British, 1787-1819) Portrait of Master John Fletcher Oil on canvas 19-1/2 x 16 inches (49.5 x 40.6 cm) PROVENANCE: Captain FitzHerbert Wright, Yeldersley Hall, Ashborne, Derbyshire, England; Private collection, Tyler, Texas. HID01801242017
Attributed to George Henry Harlowe (British 1787-1819) Portrait of Miss Catherine Stanley Unsigned Oil on canvas 24 x 20 in (61 x 50.8 cm)Property from a Local Trust
ATTRIBUTED TO GEORGE HENRY HARLOW United Kingdom, 1787-1819 Portrait of Eliza Moresby. Unsigned. The subject is identified in a later hand verso as Lady Moresby, wife of Admiral Sir Fairfax Moresby. Admiral Moresby (1786-1877) had a long and distinguished career spent defending the Crown's global empire. One of his career highlights was the 1822 Moresby Treaty, which was an anti-slavery agreement between Britain and Sayyid Said, Sultan of Muscat. Port Moresby in Papua New Guinea and Moresby Island in British Columbia were named after him. He married Eliza Louisa, daughter of John Williams of Bakewell, Derbyshire, in 1814. Together they had three sons and two daughters. Provenance: Family records indicate the painting was purchased at Christie's in London in 1989 as a G.H. Harlow. A Westchester County, New York Estate. Oil on canvas, 29.5" x 24". Framed 41" x 35".
dated, signed "1883 G. Harlow", (possibly George Henry Harlow, English 1787-1819), partially obscured name or title. Framed, not examined out of frame. Frame size: 9 1/2" high, 7 1/2" wide.
PORTRAIT OF A WOMAN ATTRIBUTED TO GEORGE HARLOW (ENGLAND, 1787-1819). Oil on canvas, unsigned. Young woman in a black hat. Restoration. 31"h. 24.5"w., framed, 42"h. 36"w.
ATTRIBUTED TO GEORGE HENRY HARLOW (1787-1819), PORTRAIT OF A YOUNG LADY WITH ROSES IN HER HAIR, oval, oil on panel, in a gilt framed with inscribed plaque. 23cm by 19.5cm
CIRCLE OF GEORGE HENRY HARLOW (1787-1819). Portrait of a Young Man. Possibly a member of the Sparowe family of Ancient House, Ipswich. oil on canvas, re-lined. 60cm x 50cm. framed in a gilt gesso frame.
