Old Masters Mixed Media

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

Roman painter (18th century) - Landscape with Wayfarers. 43.5 x 34.5 cm unframed, 58.5 x 49.5 cm with frame. Ancient oil painting on canvas, in a carved and gilded wooden frame (no...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

17th century English/Dutch School, from the Circle of Sir Peter Paul Rubens A very interesting and well-painted 17th-century oil on canvas of two men seated on horseback in a landsc...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

Portrait of a Gentleman in Armour and Azure Cloak with Diamond Brooch c.1700 Attributed to Joseph Vivienne (1657-1735) The sitter in this superb portrait, offered by Titan Fine Art...

Portrait of a Gentleman with Blue Cloak and Portrait of a Lady in Russet Dress c.1697 Thomas Murray (1663-1735) These fascinating portraits are exquisite examples of portraiture in ...

Portrait of a Lady, Elizabeth Fane, Countess Westmoreland in Silver Dress c.1667 Circle of John Michael Wright (1617-94) In this touching composition, painted around the time of Lon...

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...