Oil Painting Portrait of Lord Edward Grenfell, 1st Baron St Just (1870-1941)
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Oswald BirleyOil Painting Portrait of Lord Edward Grenfell, 1st Baron St Just (1870-1941)1922
1922
About the Item
- Creator:Oswald Birley (1880 - 1952, New Zealander)
- Creation Year:1922
- Dimensions:Height: 57 in (144.78 cm)Width: 47 in (119.38 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU67334157211
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1990
1stDibs seller since 2017
40 sales on 1stDibs
Typical response time: 1 to 2 days
More From This SellerView All
- 18th C. Portrait of the 4th Earl of Sandwich a View of Constantinople BeyondLocated in London, GBJohn Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- 19th Century Oil Painting Portrait of a MuseLocated in London, GBJohn Opie RA (1761-1807, English) c. 1802 Oil on canvas Canvas dimensions 36 x 32 inches Framed dimensions 46.5 x 43.25 inches Original gilded period frame. John Opie was a Corni...Category
Early 19th Century Portrait Paintings
MaterialsOil
- 18th Century Oil Painting Portrait of Provost John Pitcairn of DundeeBy Sir Henry RaeburnLocated in London, GBThe pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- 17th Century Oil Painting Portrait of a Young English BoyBy Gerard SoestLocated in London, GBGerard SOEST (1600 - 1681) Portrait of a Young Boy oil on canvas 35.5 x 30.5 inches inc. frame Gerard Soest (circa 1600 – 11 February 1681), also known as Gerald Soest, was a portra...Category
17th Century Old Masters Portrait Paintings
MaterialsOil
- Stunning 17th Century Oil Painting - Study of a Head of a ManBy Anthony van DyckLocated in London, GBStudio of Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches...Category
17th Century Old Masters Portrait Paintings
MaterialsOil
- 17th Century Italian Oil Painting Portrait of Music Prodigy Girolamo FrescobaldiLocated in London, GBPortrait of Girolamo Frescobaldi (1583-1643) Attributed to Antiveduto Della Grammatica (1571-1626) Oil on Canvas 1605-1609 Framed in a Nineteenth Century gild and composite frame 44....Category
Early 17th Century Baroque Figurative Paintings
MaterialsOil
You May Also Like
- The Artist's StudioBy Irving E. HurlburtLocated in Storrs, CTThe Artist's Studio. c. 1914. Oil on canvas. 24 1/8 x 32. The canvas is in fine condition, having been professionally lined, cleaned and varnished. The painting is housed in a 29 1/2 x 37-inch Sully-style gold frame. Signed, lower right and also on the verso of the canvas in the center of the image. Hurlburt apparently created a 'period piece' work of art. The two maids are dressed in late 19th-century clothing. The slight puff at the top of the sleeve is 1897 - 1898. The maid on the left has her scarf done in a way that is quite Dutch or Flemish. The woman on the right has a headscarf that could just be the tie of the scarf making that shape in the front. If her hair is done up with a chignon in the back causing the scarf to be full in the back, the placement of that bun would make the piece 1908 - 1912. The "Psyche knot" was very popular in 1910. The woman in the painting on the easel is maybe old fashioned with a simpler and fuller version of early 20th century hairstyles. It's hard to tell if what is around her neck is a boa or a collar, but boas of all shapes and sizes were popular in the 1890's. Her gown is decidedly unfitted and appears to have a loose belt at the waist. If the skirt is in layers with the light skirt length over a darker skirt, that would put the outfit in 1910 or 1914. The problem is the waist. In 1910 - 1912 it was a neo-empire revival with a high waist. It wasn't until 1914 that the waists were coming back down with sashes at the waistline. It is just not specific enough to see the details that would help to date it. I guess I would be inclined to date it more 1914 - the approximate date of the woman in the painting, and assuming that the maids are dressed in an old fashioned way, but their skirts are awfully full and long for the period to be practical for cleaning. Irving E. Hurlburt lived and worked in New Haven, Connecticut. For most of his life, he resided at Wolcott Street in New Haven. Possibly the room is the artist's studio. He studied at the Yale School of Fine Arts, 1890-93 He was a member of the New Haven Paint and Clay Club. In 1888 he received the Ethel Childe Walker Prize at the Yale School of Fine Arts. His sketches of Pictures of New Haven show historic buildings, scenes and events of New Haven, CT. They were reproduced as wood engravings in the New Haven Almanack for the years 1906 to 1913, published by Ye Olde Hardware Store of the John E. Bassett Co. His other published sketches in that venue were: The Tontine Coffee House, Mayor Roger Sherman...Category
Early 20th Century Victorian Portrait Paintings
MaterialsOil
$3,500 Sale Price46% Off - Huge Victorian Oil Painting by Famous Artist Portrait Country Girl in HarvestBy Charles Sillem LidderdaleLocated in Cirencester, GloucestershireThe Gleaner by Charles Sillem LIDDERDALE (British, 1831-1895) signed & dated 1890 oil painting on canvas, framed in what we believe to be the original frame framed: 51.5 x 37.5 inch...Category
Late 19th Century Victorian Figurative Paintings
MaterialsOil, Canvas
- 19th Century French Portrait of a Nun in her Habit Large Oil on CanvasLocated in Cirencester, GloucestershirePortrait of a Nun French School, 19th century oil on canvas, simple wooden slip frame framed: 27.5 x 20 inches canvas: 27 x 19.75 inches provenance: private collection, Champagne reg...Category
Late 19th Century Victorian Portrait Paintings
MaterialsOil
- Antique French Oil Painting Portrait of a Country SquireLocated in Cirencester, GloucestershireFrench School, early 20th century oil on canvas, unframed canvas: 14 x 10.5 inches provenance: private collection, France condition: slightly scruffy with some scuffs and paint loss ...Category
Early 20th Century Victorian Portrait Paintings
MaterialsOil
- Antique French Portrait of a Country Lady in Large Dress & Hat oil on canvasLocated in Cirencester, GloucestershirePortrait of a Country Lady French School, early 20th century oil on canvas, unframed canvas: 14 x 10.5 inches provenance: private collection condition: good and sound condition thoug...Category
Early 20th Century Victorian Portrait Paintings
MaterialsOil
- Mid Victorian Portrait of a Lady Seated in a Chair Original 19th Century OilLocated in Cirencester, GloucestershirePortrait of a Seated Lady English School, mid 19th century oil on canvas, unframed canvas: 16 x 13 inches provenance: private collection, England condition: good and sound conditionCategory
Mid-19th Century Victorian Portrait Paintings
MaterialsOil, Canvas
Recently Viewed
View AllMore Ways To Browse
Thomas Hayes Studio
Hours Of Operation
Money To Burn
Lady Tank
1941 Dress
Steamship Paintings
French Old Master Portrait Paintings 19th Century
Back To The Future Screen Used
Victorian Oil Paintings Of Dogs
Large Round Conference Table
Turned Four Post Bed
St John Chain
Awkward Light
30s Wedding
Dior I Feel Blue
Female Artist Early 20century
Map Of European War
French Bed Warmer