{"product_id":"sir-james-campbell-portrait-attributed-william-aikman-circa-1720","title":"Sir James Campbell of Lawers Scottish Military Oil Portrait Attributed to William Aikman c.1720","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eSir James Campbell of Lawers Scottish Military Oil Portrait Attributed to William Aikman c.1720\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAn important early Georgian Scottish military portrait attributed to William Aikman (1682–1731), depicting Sir James Campbell of Lawers and Rowallan, probably during his period as Colonel of the Scots Greys, with significant institutional and comparative evidence supporting the historical context of the attribution.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighlights\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eAttributed to William Aikman (1682–1731)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSir James Campbell of Lawers and Rowallan (d.1745)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eProbably circa 1720\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eProposed working dating range circa 1717–1723\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEarly Georgian Scottish portraiture\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eColonel of the Scots Greys from 1717\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eLater Lieutenant-General\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eGovernor of Edinburgh Castle\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eKnight of the Order of the Bath\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eDistinguished at Dettingen in 1743\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eMortally wounded during the Fontenoy campaign in 1745\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eHistoric William Aikman frame plaque\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eApparent historic “Wm Aikman” attribution verso\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSloane Street Auctions, London, 3 July 2024, Lot 183\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eNational Galleries of Scotland holds an accepted Aikman portrait of the same sitter\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eExtensive documented Campbell patronage within Aikman's portrait practice\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eIndependent comparative portrait with provenance by descent from the sitter\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eHistorically relined\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSubstantial later decorative gilt frame\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA commanding early Georgian Scottish portrait depicting \u003cstrong\u003eSir James Campbell of Lawers and Rowallan\u003c\/strong\u003e, one of the distinguished cavalry officers of his generation, and attributed to the celebrated Scottish portraitist \u003cstrong\u003eWilliam Aikman (1682–1731)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eCampbell is shown half-length against a restrained dark background.\u003c\/p\u003e\n\u003cp\u003eHis brilliant scarlet military coat opens to reveal an elaborately decorated gold-toned waistcoat and crisp white neckcloth. A long curled wig frames his strongly modelled face, while his unusually direct gaze creates an immediate sense of authority and character.\u003c\/p\u003e\n\u003cp\u003eThe portrait is particularly compelling because subsequent research has established a significant historical framework around its longstanding Aikman attribution.\u003c\/p\u003e\n\u003cp\u003eThe National Galleries of Scotland holds an accepted portrait by \u003cstrong\u003eWilliam Aikman of Sir James Campbell himself\u003c\/strong\u003e, while further research demonstrates extensive Aikman patronage throughout the wider Campbell political and aristocratic circle.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: Attributed to William Aikman (1682–1731)\u003c\/p\u003e\n\u003cp\u003eSitter: Sir James Campbell of Lawers and Rowallan (d.1745)\u003c\/p\u003e\n\u003cp\u003eTitle: Portrait of Sir James Campbell of Lawers and Rowallan\u003c\/p\u003e\n\u003cp\u003eDate: Probably circa 1720\u003c\/p\u003e\n\u003cp\u003eProposed working range: circa 1717–1723\u003c\/p\u003e\n\u003cp\u003ePeriod: Early Georgian\u003c\/p\u003e\n\u003cp\u003eOrigin: Scotland\u003c\/p\u003e\n\u003cp\u003eMedium: Oil on canvas\u003c\/p\u003e\n\u003cp\u003eSigned: Unsigned\u003c\/p\u003e\n\u003cp\u003eHistoric attribution evidence: Apparent “Wm Aikman” inscription verso and older frame plaque naming William Aikman\u003c\/p\u003e\n\u003cp\u003eCanvas: approximately 76.2 × 64.8 cm\u003c\/p\u003e\n\u003cp\u003eFramed: approximately 91.5 × 78.5 × 4.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting is catalogued \u003cstrong\u003eAttributed to William Aikman (1682–1731)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe attribution is not a newly created dealer attribution.\u003c\/p\u003e\n\u003cp\u003ePrior to its acquisition by Cheshire Antiques Consultant LTD®, the portrait was independently offered by Sloane Street Auctions, London, as:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttributed to William Aikman (Scottish, 1682–1731), A portrait of Sir James Campbell (c.1680–1745).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting also retains an older frame plaque reading \u003cstrong\u003eWILLIAM AIKMAN 1682–1731\u003c\/strong\u003e, together with an apparent \u003cstrong\u003e“Wm Aikman”\u003c\/strong\u003e attribution verso.\u003c\/p\u003e\n\u003cp\u003eNeither is represented as an autograph artist's signature.\u003c\/p\u003e\n\u003cp\u003eThey are instead important physical evidence demonstrating that the association with Aikman forms part of the painting's earlier attribution history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Sitter — Sir James Campbell of Lawers and Rowallan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSir James Campbell belonged to the interconnected world of Scottish aristocracy, politics and professional soldiering.\u003c\/p\u003e\n\u003cp\u003eA son of James Campbell, 2nd Earl of Loudoun, and Lady Margaret Montgomerie, Campbell pursued a distinguished military career spanning several decades.\u003c\/p\u003e\n\u003cp\u003eHe became closely associated with the \u003cstrong\u003eRoyal North British Dragoons — the Scots Greys\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eCampbell distinguished himself during the War of the Spanish Succession and at Malplaquet.\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003e1717\u003c\/strong\u003e, he became Colonel of the Scots Greys.\u003c\/p\u003e\n\u003cp\u003eThis appointment provides an important chronological context for the portrait.\u003c\/p\u003e\n\u003cp\u003eIf the painting was executed around 1720, Campbell is represented not as the later Lieutenant-General of Dettingen and Fontenoy, but during an earlier and important phase of his military career as Colonel of one of Britain's celebrated cavalry regiments.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Scarlet Coat \u0026amp; Early Georgian Dress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe sitter's costume contributes significantly to the proposed dating.\u003c\/p\u003e\n\u003cp\u003eCampbell wears a brilliant scarlet military coat opened over a richly decorated waistcoat and white neckcloth.\u003c\/p\u003e\n\u003cp\u003eHis full curled wig and overall presentation belong naturally within the visual vocabulary of early Georgian male portraiture.\u003c\/p\u003e\n\u003cp\u003eThe prominently exposed waistcoat and treatment of the coat are compatible with early-18th-century military portraiture.\u003c\/p\u003e\n\u003cp\u003eEqually interesting is what is absent.\u003c\/p\u003e\n\u003cp\u003eCampbell does not display the insignia of the \u003cstrong\u003eOrder of the Bath\u003c\/strong\u003e, an honour he did not receive until 1743.\u003c\/p\u003e\n\u003cp\u003eThis absence is entirely consistent with a portrait created considerably earlier in his career.\u003c\/p\u003e\n\u003cp\u003eThe costume therefore contributes to the proposed circa-1720 dating, while no claim is made that every element represents a precisely identifiable regulation uniform.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the Scots Greys to Dettingen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCampbell's subsequent career was remarkable.\u003c\/p\u003e\n\u003cp\u003eHe rose through the senior ranks of the British Army and became Governor of Edinburgh Castle in \u003cstrong\u003e1738\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eBy the early 1740s he had attained the rank of Lieutenant-General.\u003c\/p\u003e\n\u003cp\u003eAt the \u003cstrong\u003eBattle of Dettingen in 1743\u003c\/strong\u003e, Campbell commanded cavalry and distinguished himself against the French.\u003c\/p\u003e\n\u003cp\u003eGeorge II subsequently invested him with the \u003cstrong\u003eOrder of the Bath\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eCampbell continued campaigning during the War of the Austrian Succession.\u003c\/p\u003e\n\u003cp\u003eIn 1745, during the operations surrounding the \u003cstrong\u003eBattle of Fontenoy\u003c\/strong\u003e, he was struck by a French cannonball and mortally wounded.\u003c\/p\u003e\n\u003cp\u003eThe portrait therefore records a man whose subsequent career would become closely intertwined with some of the defining military events of Georgian Britain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Aikman — A Leading Scottish Portraitist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWilliam Aikman was born in 1682 and became one of Scotland's most important portrait painters of the early Georgian period.\u003c\/p\u003e\n\u003cp\u003eAfter beginning his career in Edinburgh, he travelled to London and subsequently through Italy and Turkey, broadening his artistic education.\u003c\/p\u003e\n\u003cp\u003eHe returned to Scotland around 1711–12 and rapidly established an important portrait practice among Scotland's political, military and aristocratic elite.\u003c\/p\u003e\n\u003cp\u003eAikman's patronage network is particularly relevant to the present painting.\u003c\/p\u003e\n\u003cp\u003eAmong his most significant supporters was \u003cstrong\u003eJohn Campbell, 2nd Duke of Argyll and Greenwich\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe relationship between Aikman and the Campbell circle was extensive rather than incidental.\u003c\/p\u003e\n\u003cp\u003eAikman eventually settled permanently in London in 1723 and continued his successful portrait practice until his death in 1731.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA National Galleries of Scotland Portrait of the Same Sitter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe most significant institutional comparison is held by the \u003cstrong\u003eNational Galleries of Scotland\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts collection contains:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Aikman (1682–1731)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSir James Campbell of Lawers and Rowallan, 1667–1745. Soldier\u003c\/em\u003e\u003cbr\u003eAfter 1711\u003cbr\u003eOil on canvas\u003cbr\u003e76.10 × 64.30 cm\u003cbr\u003eAccession PG 1395.\u003c\/p\u003e\n\u003cp\u003eThis provides unequivocal institutional evidence that \u003cstrong\u003eSir James Campbell sat to William Aikman\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe National Galleries portrait and the present painting are distinct compositions and the existence of one cannot authenticate the other.\u003c\/p\u003e\n\u003cp\u003eNevertheless, it substantially strengthens the historical plausibility of an Aikman attribution for another portrait of the same sitter.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn Intriguing Dimensional Correspondence\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe National Galleries painting measures approximately \u003cstrong\u003e76.1 × 64.3 cm\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe present canvas measures approximately \u003cstrong\u003e76.2 × 64.8 cm\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThey therefore occupy essentially the same conventional half-length portrait format.\u003c\/p\u003e\n\u003cp\u003eApproximately 30 × 25 inches was widely used within British portraiture and is encountered elsewhere within Aikman's oeuvre.\u003c\/p\u003e\n\u003cp\u003eThe dimensional correspondence therefore cannot establish authorship.\u003c\/p\u003e\n\u003cp\u003eIt does, however, confirm that the present work conforms closely to an appropriate Aikman portrait format.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Aikman \u0026amp; Campbell Patronage\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Campbell connection extends beyond Sir James.\u003c\/p\u003e\n\u003cp\u003eThe National Portrait Gallery holds Aikman's \u003cstrong\u003ecirca-1720 portrait of John Campbell, 2nd Duke of Argyll and Greenwich\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts extended catalogue discusses Aikman's considerable production of portraits of Argyll and suggests that many were painted in Edinburgh between approximately \u003cstrong\u003e1712 and 1722\u003c\/strong\u003e, with versions associated with the Duke's political allies and kinsmen.\u003c\/p\u003e\n\u003cp\u003eAikman's surviving correspondence also demonstrates Argyll's continuing friendship and patronage.\u003c\/p\u003e\n\u003cp\u003eOther documented portraits further demonstrate Aikman's activity among members of the Campbell family and its wider social circle.\u003c\/p\u003e\n\u003cp\u003eThis provides a historically credible patronage environment for the present attribution while stopping short of treating contextual evidence as proof of authorship.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndependent Portrait Evidence for Sir James Campbell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe sitter identification can also be considered against portraits independent of the Aikman tradition.\u003c\/p\u003e\n\u003cp\u003eChristie's offered a portrait of \u003cstrong\u003eSir James Campbell of Lawers\u003c\/strong\u003e catalogued as Follower of Jean-Baptiste van Loo.\u003c\/p\u003e\n\u003cp\u003eIt depicts Campbell in armour and a red velvet fur-trimmed robe.\u003c\/p\u003e\n\u003cp\u003eMost importantly, its recorded provenance begins:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBy descent from the sitter.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe portrait had previously appeared at Sotheby's, London, on 8 April 1992, Lot 30.\u003c\/p\u003e\n\u003cp\u003eThis family-descended work provides valuable independent evidence for Campbell's portrait iconography.\u003c\/p\u003e\n\u003cp\u003eA later portrait associated with Allan Ramsay and dated 1744 provides an additional likeness from the final phase of Campbell's life.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDating \u0026amp; Attribution Assessment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOur current research suggests that \u003cstrong\u003ecirca 1720\u003c\/strong\u003e, with approximately \u003cstrong\u003e1717–1723\u003c\/strong\u003e as a working range, provides a historically coherent dating for the portrait.\u003c\/p\u003e\n\u003cp\u003eCampbell became Colonel of the Scots Greys in 1717.\u003c\/p\u003e\n\u003cp\u003eAikman was active in Scotland and within the Campbell patronage network during this period.\u003c\/p\u003e\n\u003cp\u003eThe National Portrait Gallery dates Aikman's Duke of Argyll to circa 1720 and discusses his Edinburgh Campbell portrait production between approximately 1712 and 1722.\u003c\/p\u003e\n\u003cp\u003eAikman permanently relocated to London in 1723.\u003c\/p\u003e\n\u003cp\u003eThe sitter's costume and absence of Campbell's later Order of the Bath insignia are likewise compatible with this chronology.\u003c\/p\u003e\n\u003cp\u003eThe dating nevertheless represents an informed historical, stylistic and costume assessment rather than a documented execution date.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Note on Campbell's Birth Date\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn unresolved discrepancy exists within published biographical sources.\u003c\/p\u003e\n\u003cp\u003eThe National Galleries of Scotland and Christie's identify Campbell as \u003cstrong\u003e1667–1745\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eOther biographical and military sources have given a birth around \u003cstrong\u003e1680\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eFor this reason, our principal catalogue identification uses \u003cstrong\u003eSir James Campbell of Lawers and Rowallan (d.1745)\u003c\/strong\u003e rather than presenting a disputed birth year as definitive.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuction History\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSloane Street Auctions, London, \u003cem\u003eThe Old Master Sale: Jewellery, Paintings, Furniture and Estate Contents\u003c\/em\u003e, 3 July 2024, Lot 183.\u003c\/p\u003e\n\u003cp\u003eCatalogued as:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttributed to William Aikman (Scottish, 1682–1731), A portrait of Sir James Campbell (c.1680–1745).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAcquired from the above by Cheshire Antiques Consultant LTD®.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEarlier provenance presently unrecorded.\u003c\/p\u003e\n\u003cp\u003eSloane Street Auctions, London, \u003cem\u003eThe Old Master Sale: Jewellery, Paintings, Furniture and Estate Contents\u003c\/em\u003e, 3 July 2024, Lot 183.\u003c\/p\u003e\n\u003cp\u003eAcquired from the above by Cheshire Antiques Consultant LTD®.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOngoing Provenance Research\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eResearch has identified surviving \u003cstrong\u003eCampbell of Lawers family and estate papers\u003c\/strong\u003e covering Sir James Campbell's lifetime.\u003c\/p\u003e\n\u003cp\u003eThese archival records potentially offer future avenues for research into family commissions, pictures, household expenditure and estate inventories.\u003c\/p\u003e\n\u003cp\u003eNo documentary evidence has presently been discovered connecting this particular privately owned canvas directly with Lawers House, Rowallan, Loudoun or another Campbell family collection.\u003c\/p\u003e\n\u003cp\u003eNo such early family provenance is therefore claimed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences \u0026amp; Comparative Research\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNational Galleries of Scotland — William Aikman, \u003cem\u003eSir James Campbell of Lawers and Rowallan, 1667–1745. Soldier\u003c\/em\u003e, after 1711, oil on canvas, 76.10 × 64.30 cm, PG 1395.\u003c\/p\u003e\n\u003cp\u003eNational Portrait Gallery, London — William Aikman (1682–1731), biographical and collection records.\u003c\/p\u003e\n\u003cp\u003eNational Portrait Gallery, London — William Aikman, \u003cem\u003eJohn Campbell, 2nd Duke of Argyll and Greenwich\u003c\/em\u003e, circa 1720, including extended catalogue discussion of Aikman's Campbell patronage.\u003c\/p\u003e\n\u003cp\u003eChristie's — \u003cem\u003ePortrait of Sir James Campbell of Lawers\u003c\/em\u003e, Follower of Jean-Baptiste van Loo, with provenance recorded as by descent from the sitter.\u003c\/p\u003e\n\u003cp\u003eSloane Street Auctions, London — \u003cem\u003eThe Old Master Sale\u003c\/em\u003e, 3 July 2024, Lot 183.\u003c\/p\u003e\n\u003cp\u003eNational Records of Scotland — Campbell of Lawers family and estate archival records identified during ongoing provenance research.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCanvas:\u003c\/p\u003e\n\u003cp\u003eApproximately 76.2 cm high × 64.8 cm wide.\u003c\/p\u003e\n\u003cp\u003eFramed:\u003c\/p\u003e\n\u003cp\u003eApproximately 91.5 cm high × 78.5 cm wide × 4.5 cm deep.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrame\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe portrait is presented within a substantial decorative gilt frame which gives the work considerable period presence.\u003c\/p\u003e\n\u003cp\u003eAn older metal plaque attached to the frame reads:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWILLIAM AIKMAN\u003cbr\u003e1682–1731\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe frame is considered later than the painting and is not represented as its original early-18th-century frame.\u003c\/p\u003e\n\u003cp\u003eIt has undergone historic restoration and later overpainting and displays rubbing, cracking, scuffs, small losses and repairs consistent with age and use.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Report\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting remains in good age-appropriate condition.\u003c\/p\u003e\n\u003cp\u003eThe canvas has been historically relined.\u003c\/p\u003e\n\u003cp\u003eAge-related craquelure is visible throughout the painted surface, together with areas of staining and historic surface variation.\u003c\/p\u003e\n\u003cp\u003eAreas of historic retouching are present, including within the lower scarlet coat.\u003c\/p\u003e\n\u003cp\u003eStretcher-bar impressions are visible.\u003c\/p\u003e\n\u003cp\u003eThe later gilt frame has undergone restoration and overpainting and displays rubbing, scuffs, scratches, cracking, small losses and historic repairs commensurate with age and use.\u003c\/p\u003e\n\u003cp\u003ePlease study all photographs carefully as they form an integral part of the condition report.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShipping\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWorldwide shipping is available.\u003c\/p\u003e\n\u003cp\u003eOwing to the substantial dimensions and weight of the framed portrait, it will be professionally packaged using appropriate protective materials and dispatched fully insured.\u003c\/p\u003e\n\u003cp\u003eInternational buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe artwork will be supplied with a Certificate of Sale \u0026amp; Dealer Attribution issued by Cheshire Antiques Consultant LTD®, recording the artwork’s catalogue details, attribution, provenance as stated, and details of the sale. This document accompanies the work as part of its ongoing ownership and provenance record.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttribution and Research\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe historical observations, provenance research, attribution analysis and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available evidence, comparative research, published reference material and our experience within the international fine art market.\u003c\/p\u003e\n\u003cp\u003eThese observations should be understood as professional opinions rather than definitive statements of fact or guarantees of authorship, attribution, date, origin, provenance or historical interpretation. As with all historic works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCheshire Antiques Consultant LTD®\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/p\u003e\n\u003cp\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market. We are committed to offering collectors works of artistic and historical merit accompanied by transparent provenance research, detailed catalogue descriptions and professional, client-focused service.\u003c\/p\u003e\n\u003cp\u003eAdditional photographs and further information are available upon request.\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"Default Title","offer_id":45491898319101,"sku":"CAC-SK-0249","price":29500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/scottish-oil-painting-lieutenant-general-sir-james-campbell-attributed-william-aikman-815624.jpg?v=1721749048","url":"https:\/\/cheshireantiquesconsultantltd.com\/en-im\/products\/sir-james-campbell-portrait-attributed-william-aikman-circa-1720","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}