Old Masters More Art
OLD MASTERS
Encompassing centuries of change in Europe between 1300 and 1800, from booms of prosperity to bloody revolutions, Old Masters describes a wide range of artists. The informal term was derived from the title of an artist who trained in a guild long enough to become a master, such as Leonardo da Vinci, who studied in a Florence painters’ guild. However, Old Masters paintings, prints and other art is now used to refer to work made by any artist with a high level of skill in painting, drawing, sculpture or printmaking who worked during this era.
The 15th century’s expansive trade and commerce spread culture across borders. A vibrant period of art emerged, bolstered by studies of anatomy and nature that influenced a new visual realism. From Raphael and Michelangelo in the Renaissance to Rembrandt van Rijn and Johannes Vermeer in the Dutch Golden Age, artists expressed emotion, naturalism, color and light in new ways. El Greco and Paolo Veronese were leaders in the dramatic style of Mannerism, while Caravaggio and Peter Paul Rubens demonstrated the movement and meticulous detail of Baroque art.
Historically, most attention was concentrated on male artists, but recent research and exhibitions have elevated the impactful work of women such as Rachel Ruysch and Artemisia Gentileschi. In late-18th-century France, female artists like Adélaïde Labille-Guiard and Élisabeth Vigée Le Brun were prominent names. Nevertheless, access to the academies and guilds was highly restricted for women, and even those able to establish practices were expected to adhere to portraits and still lifes rather than the grand history paintings being created by men.
Find a collection of Old Masters prints, paintings, drawings and watercolors and other art on 1stDibs.
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Style: Old Masters
The Necklace of Jane Seymour, Henry VIII's Third Wife, Limited Edition, Signed
Located in New York, NY
Hiroshi Sugimoto
The Necklace of Jane Seymour, Henry VIII's Third Wife, 2000
Limited Edition Signed pendant of silver-plated brass, imitation pearls, Swarovski glass stones, handmade...
Category
16th Century Old Masters More Art
Materials
Metal
Portrait of lady, Mary Hammond in Rich Attire, Jewels, Lace c.1618-22 Historical
By Cornelius Johnson
Located in London, GB
Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22
Circle of Cornelius Johnson (1593-1661)
This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections.
Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined.
By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly.
Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history.
The couple had at least five children, and they became highly significant historical figures:
The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland.
Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty.
The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’
A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994.
The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park.
Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished.
Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity.
The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings.
Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity.
The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...
Category
17th Century Old Masters More Art
Materials
Oil, Panel
Seventeenth Century Old Master Biblical Oil Painting Joseph recounts his Dream
Located in ludlow, GB
Seventeenth Century Old Master Biblical themed Oil Painting on Panel of Joseph recounting his Dream. A Follower of Rembrandt Harmensz Van Rijn 1606 - 1669. This painting follows a ...
Category
17th Century Old Masters More Art
Materials
Oil
Portrait of a Lady, Mrs Wray in a Silk Dress & Pink Wrap c.1698, Oil on canvas
By Michael Dahl
Located in London, GB
Portrait of a Lady, Mrs Wray in a Silk Dress & Pink Wrap c.1698
Circle of Michael Dahl (1659-1743)
This delightful work, presented by Titan Fine Art, is a fine example of British po...
Category
17th Century Old Masters More Art
Materials
Cotton Canvas, Oil
Portrait of Lady, Barbara Herbert, Countess of Pembroke c.1708, Large Painting
Located in London, GB
Portrait of Barbara Herbert, Countess of Pembroke c.1708
Charles d’Agar (1669-1723)
This magnificent large-scale portrait, presented by Titan Fine Art, depicts the British court of...
Category
17th Century Old Masters More Art
Materials
Cotton Canvas, Oil
Portrait of a Gentleman, David Erskine, 13th Laird of Dun, Wearing Armour c.1700
Located in London, GB
The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...
Category
17th Century Old Masters More Art
Materials
Oil, Canvas
Portrait of Gentleman, Sir Henry Hobart, Blue Cloak & cravat, Wissing oil canvas
By Willem Wissing
Located in London, GB
Portrait of a Gentleman, Sir Henry Hobart Blue Cloak and cravat c.1683-1684
Attributed to Willem Wissing (1656-1687)
This impressive portrait, presented by Titan Fine Art, depicts t...
Category
17th Century Old Masters More Art
Materials
Cotton Canvas, Oil
Portrait of Gentleman in blue, Portrait of Lady, oval pair Fine Carved Frames
Located in London, GB
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 ...
Category
17th Century Old Masters More Art
Materials
Oil, Canvas
Francesco Albani Circle Italian Mythological Painting
Located in Roma, IT
Francesco Albani Circle Italian Mythological Painting
This important oil painting on wood depicts a subject that is very rare in the iconography of ancient mythological paintings: the birth of Erittonio. Erichthonius who succeeded Amphictyon becoming the fourth mythological king of Athens and married the naiad Praxithea who made him the father of Pandion.
The extremely high quality of this very rare painting suggests that it was painted by an artist who frequented Francesco Albani's studio.
The period, the mythological subject, the harmony of the colours and, above all, the sublime quality of the flesh tones all point in this direction.
This artwork, never before on the market, comes from an important Italian private collection
Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts.
ERYTHTONIOS (᾿Ερυχϑόνιος, Erychthonios)
Born of Hephaestus' love for Athena, from the breast of Ghe, who was impregnated by the god; welcomed by Athena, who placed him in a basket together with one or two snakes, entrusting him to the care of Cecrops' three daughters.
Against the goddess's wishes, they opened the chest, from which emerged, according to different versions of the myth, either the child wrapped in snakes or a snake, which, in some versions, killed the girls, while in others, they threw themselves from the Acropolis in fear. Erittonio, in the form of a snake, is welcomed by Athena into her temple and curls up under the goddess's shield. Alongside this myth, of Ionian origin, are others due to the doubling of the figures of E. and Erechtheus
The scene of the birth appears in figurative tradition: in a Melian terracotta relief from the early 5th century, Ghe, half-emerging, holds out the baby Erittonio. to Athena, who welcomes him in the presence of Cecrops; the same scene appears on various painted vases, such as a red-figure kölix by the Painter of Kodros, from Tarquinia, in the Berlin Museums, dating from around 440 BC, where Hephaestus also appears alongside Cecrops.
A modest red-figure vase from Camiro, in the British Museum, depicts the moment when the fleeing Cecropids discover the cista, from which the infant Erittonio. emerges between two snakes, greeting Athena.
The moment when the chest was opened was depicted by Phidias on the xiii and xiv S metopes of the Parthenon, where Cecrops and Pandrosus appear in the first and Erisichthon and Aglaurus with the chest uncovered in the second.
A kölix in the style of the Brygos Painter in Frankfurt, on the other hand, depicts the large snake E. chasing the fleeing Cecropids towards their father's palace.
Luciano (De dom., 27) recalls a painting depicting the scene of the birth and the representation of the myth in pantomime on the theatre (De salt., 39).
Bibliography: Engelmann, in Roscher, cc. 1303-1308, s. v. Erichthonios; P. Jacobstahl, Die Melischen Reliefs, Berlin 1931, pp. 96-98, plate 75 a; W. Züchner, in Jahrbuch, LXV-LXVI, 1950-51, p. 200 ff., figs. 34-35; J. D. Beazley, Red-fig., p. 720; G. Becatti, Problemi fidiaci, Florence 1951, p. 22.
Questo
Francesco Albani (Bologna, August 17, 1578 – Bologna, October 4, 1660) was an Italian painter.
Albani was born in Bologna, Papal States, in 1578.
His father was a silk merchant who intended his son to go into his own trade. By the age of twelve, however, he had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci.
This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi...
Category
Late 17th Century Old Masters More Art
Materials
Oil, Wood Panel
Oil Portrait of a Victorian Lady, c. 1850
Located in Chicago, IL
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...
Category
Mid-19th Century Old Masters More Art
Materials
Oil
Veduta del Campidoglio di fianco
Located in New York, NY
Etching. Signed in the plate lower right. From the fourth state, of six, a late 18th / early 19th century impression; first Paris edition. From the Vedute di Rome series.
Overall...
Category
1770s Old Masters More Art
Materials
Etching
Portrait Gentleman Armour, Blue Cloak, Diamond Brooch c.1700 French Carved Frame
By Joseph Vivien
Located in London, GB
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...
Category
17th Century Old Masters More Art
Materials
Oil, Cotton Canvas
HOLY BIBLE / sagrada biblia
Located in CÓRDOBA, ES
Félix Torres Amat, The Holy Bible, Volume One, Old Testament 1953
ILLUSTRATIONS BY GUSTAVE DORE
Category
21st Century and Contemporary Old Masters More Art
Materials
Archival Paper
The Penance of St. Chrysostom by Albrecht Dürer
Located in New Orleans, LA
Albrecht Dürer
1471-1528 German
The Penance of St. Chrysostom
Monogrammed in the plate lower center "AD"
Copper engraving on laid paper
“Whatever was mortal in Albrecht Dürer li...
Category
15th Century and Earlier Old Masters More Art
Materials
Copper
Dutch Old Master Portrait of Maurits, Prince of Orange-Nassau, Oil on Panel
Located in London, GB
In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...
Category
17th Century Old Masters More Art
Materials
Oil, Wood Panel
Cuzco School Baptismal Dish
Located in New York, NY
Provenance:
Manuel Ortíz de Zevallos y García, Peru; and by descent in the family to:
Private Collection, New York.
This impressive baptismal dish is an example of eighteenth-cent...
Category
18th Century Old Masters More Art
Materials
Silver
"Le Singe" The Monkey Tapestry
Located in Atlanta, GA
Belgian made, Jacquard woven with relief stitch. Fully lined with rod pocket for hanging.
Cotton and rayon.
Measurements are approximate.
Category
Late 20th Century Old Masters More Art
Materials
Tapestry
Micromosaic Panel "Casco D’oro (The Man with the Golden Helmet)" After Rembrandt
By Studio Del Mosaico Vaticano
Located in Yardley, PA
An exceptional micromosaic made by the Vatican Mosaic Workshop after Rembrandt’s celebrated “Man in a Golden Helmet.” Composed of thousands of hand-cut glass tesserae, the work captures the brilliance of Rembrandt’s chiaroscuro with extraordinary precision. The armor glows with metallic depth, and the sitter’s expression retains its quiet intensity which made the original painting so famous.
The Vatican’s Studio del Mosaico...
Category
20th Century Old Masters More Art
Materials
Mosaic
Portrait of Giuseppe Garibaldi - Original Glass Art - 19th Century
Located in Roma, IT
Portrait of Garibaldi is an admirable piece of art painted on small glass, realized by anonymous artists of the 19th Century.
Good condition.
The tiny and small piece of glass art,...
Category
19th Century Old Masters More Art
Materials
Glass
17th Century Flemish Sculpture of a Religious Figure
Located in Rochester, NY
Antique carving of a saint or martyr. 17th century Flemish hardwood carving. Wonderful wear and rich color.
Category
17th Century Old Masters More Art
Materials
Wood
Accurata e succinta descrizione topografia delle Antichità di Roma
Located in Roma, IT
Complete title: Accurata e succinta descrizione topografia delle Antichità di Roma dell'Abate Ridolfino Venuti Cortonese Presidente all'Antichità Romane e Membro Onorario della Regia...
Category
Early 1800s Old Masters More Art
Materials
Paper, Etching
Des Enfants Traînant Un Chariot Chargé de Fruits
Located in Milford, NH
A fine oil painting with cherubs and a cart of fruit by French artist Leger Cherelle (1816-1867). Cherelle was born in Versailles, France, a...
Category
1830s Old Masters More Art
Materials
Oil, Board
The Artist's Mother Seated at a Table, Looking Left: Three Quarter Length
Located in New York, NY
Etching and drypoint, circa 1630s. Cream laid paper. Narrow margins.
Category
1630s Old Masters More Art
Materials
Etching
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These lavish portraits, presented by Titan Fine Art, illustrate the elegant and exuberant type of portrait that the French court and the bourgeoisie favoured at the end of the 17th century. Painted circa 1700, they combine a meticulous representation of the subject's face and rich detailed draperies. They are a mastery of colour and of a style perfected by the prestigious painter and Director of the Académie Royale de Peinture et de Sculpture in Paris, Nicolas de Largilliere.
France during this period was the leading exponent of fashion and the arts to the rest of Europe and the fashions arose from the French court itself – and this is evident in the clothing on display in these portraits. The gentleman has been depicted in a russet coat with golden thread embroidery, a white lace cravat, and a rich crimson velvet mantle, that has been deliberately turned over at the top to reveal its purple shot silk lining. The young beautiful lady, whose face is painted with a clear and fresh palette, wears a dress with golden embroidery on the bodice and a huge black diamond brooch, large balloon-like gathered sleeves with lace and tied with a string of pearls, and a luxurious azure blue velvet mantle, tied at the shoulder with a pearl and large diamond brooch, again, deliberately folded to reveal its real gold embroidered lining. Her cheeks are rosy, with red lips: a style in keeping with that was worn at Versailles. The copious number of expensive fabrics, that completely encircle them, serve to underline their social status.
The skilful works, with their beautiful colour combinations, create a strong visual impact. The artist demonstrates great skill in the rendering of sumptuous fabrics, the use of vibrant colours, and the realism of the faces.
The couple are most likely married, considering the conventions of portraiture at the time, where the male is positioned on the left (and inclined to our right) and the female is positioned on the right (and included to our left).
A feature of these portraits are the stunning original carved and gilded frames – they are works of art in their own right.
Nicolas de Largillierre was baptised in Paris in 1656. His family relocated to Antwerp when he was approximately three years old. After a journey to London, Largillière's father arranged for him to apprentice with the Flemish artist Anton Goubau. Nevertheless, he departed at the age of eighteen and returned to England, where he formed a friendship and was employed by Sir Peter Lely for four years in Windsor, Berkshire. During this period, Largillière also worked under the guidance of the Italian painter Antonio Verrio.
His artwork garnered the interest of Charles II, who desired to keep Largillière in his service; however, he eventually returned to Paris, where he was warmly embraced by the public as a painter.
Upon his ascension to the throne in 1685, James II summoned Largillière back to England and offered him the position of keeper of the royal collections. He subsequently painted portraits of the king, Queen Mary of Modena...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 41.74 in W 35.83 in D 3.75 in
Vintage Black Red Gold Picture Frame Ornate Design
Located in Cirencester, Gloucestershire
Ornate Picture Frame
Italian, mid 20th century
overall frame size: 30 x 22 inches
inner frame size : 19 x 15.5 inches
Provenance: private collection, France
Condition: minor surface ...
Category
Mid-20th Century Old Masters More Art
Materials
Mixed Media, Wood
Portrait of William of Orange, later William III, in Armour, Peter Lely Painting
Located in London, GB
This exquisite portrait, presented by Titan Fine Art, depicts King William III, when he was Prince of Orange. The military-minded William III is portrayed as the archetypal commande...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 48.82 in W 58.67 in D 3.15 in
Portrait of Mary of Modena, when Duchess of York c.1675; Studio of Peter Lely
Located in London, GB
Portrait of Mary of Modena (1658-1718) when Duchess of York c.1675-80
Studio of Sir Peter Lely (1618-80)
Presented by Titan Fine Art
This attractive po...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 57.49 in W 48.04 in D 2.76 in
Portrait of Sir Henry Wotton in a Black Doublet & Ruff, Fine & Rare Carved Frame
By Cornelius Johnson
Located in London, GB
A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...
Category
17th Century Old Masters More Art
Materials
Oil, Wood Panel
H 37.41 in W 32.29 in D 3.55 in
Portrait of Lady Catherine Edwin (Montagu) in a Woodland c.1697; Fine Provenance
By Michael Dahl
Located in London, GB
This exquisite portrait, presented by Titan Fine Art, is by Michael Dahl; it was part of the extensive collection owned by Thomas Wyndham of Clearwell Court in Gloucestershire. It ma...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 54.93 in W 40.95 in D 2.76 in
Portrait of a Gentleman in Grey Coat & White Cravat, Oil on canvas Painting
Located in London, GB
This exquisite work, presented by Titan Fine Art, is by the notable artist Hans Hysing, who was a noteworthy painter in England; it is significant in its q...
Category
18th Century Old Masters More Art
Materials
Canvas, Oil
H 36.62 in W 31.5 in D 1.97 in
Portrait of Gentleman in Armour by Table & Helmut c.1685 Aristocratic Provenance
By Johann Kerseboom
Located in London, GB
Portrait of a Gentleman in Armour beside a Table with Helmut c.1685
Follower or circle of Johann Kerseboom (d.1708)
This exquisite Grand Manner work, presented by Titan Fine Art, wa...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 59.85 in W 48.43 in D 3.15 in
Portrait of Lady Legh Seated Holding Flowers c.1693 English Aristocratic History
By Kneller Godfrey
Located in London, GB
This exquisite Grand Manner work, presented by Titan Fine Art, was painted circa 1693 and formed part the Legh family collection at their magnificent home, Adlington Hall. Adlington was built on the site of a Saxon hunting-lodge and became the home of the Legh family during the reign of Edward Il, thus cementing the family's custodianship of Adlington for the next 700 years. Our portrait can be seen hanging in the Drawing Room in a photograph taken by Country Life magazine in 1905 (see photo). Through this portrait, collectors have a chance to acquire an evocative vestige from a glittering aristocratic way of life that is fast disappearing.
It is a good example of portraiture of aristocratic and wealthy women in England during the last quarter of the seventeenth century. Beautifully composed, the sitter is seated in a woodland with a rocky outcrop and a sky just visible through the trees. This arcadian setting draws from the tradition of pastoral literature where life in the country was perceived as peaceful, contemplative, free of worry, and a time to pursue pleasure. By the early seventeenth century, Arcadia was already a popular theme in art and all educated individuals were familiar with Latin and Greek pastoral poetry. As such, the topic was so ingrained in society that, contemporary audiences would have instantly recognised its meaning when viewing this portrait.
The sitter was born Lady Isabella Robartes in 1674. She was the daughter of The Honorable Robert Robartes, Lord Viscount Bodmin (1634-82) who was an English politician and ambassador to Denmark. The Robartes were a Cornish family who resided in Truro for many generations and had acquired great wealth through trading in wool and tin in Tudor times. Robert’s father had suffered considerable losses during the war as his house in Cornwall was occupied by the royalists, his estates were assigned to Sir Richard Grenville, and Robert and his siblings were detained as prisoners with the king. Upon the premature death of Lady Isabella’s father, her mother was later granted the use of the title Countess of Radnor, as she would have been had her husband survived.
On 18 July 1693 Lady Robartes married John Legh of Adlington Hall (1688-1739] who was a colonel of militia, and sheriff of the county in 1705. The couple had three children, Elizabeth (c.1694-burried Westminter Abbey 1734), Lucy Frances Legh (1695-1728), and Charles Legh (1697-1781), Charles succeeded his father in 1739. Charles was a friend of the composer Handel who composed the Musical ‘Blacksmith’ whilst on a visit to Adlington. The sitter died in 1725.
The ancient family of Legh stand high amongst the distinguished lines of Englishmen anciently established in Cheshire which has been called by one old writer “the mother and nurse of gentility”. The Legh family were already an established family in Cheshire having been granted many estates by William the Conqueror after the Norman Conquest in 1066, from John de Legh and Ellen de Corona stem the numerous branches of the family including the Leghs of Lyme and the Leighs of Stoneleigh - both created prominent houses which still exist today. In 1596 Sir Urian Legh joined the earl of Essex in Elizabeth I’s expedition against the Spaniards and having taken a leading part in the siege of Cadiz, received the honour of knighthood on the field.
Adlington in Cheshire is one of that county’s oldest landholdings. Tradition has it that the roof of the famed Great Hall is supported my two pillars hewn from oak trees which still have their roots planted in the Cheshire soil beneath. Set within its sprawling estate, it has a rich history spanning over 700 years and is a reflection of the changing social, architectural, and political landscapes of England.
Adlington is mentioned in the Domesday survey as Edulvinstane, which was owned before the Conquest by the Saxon Earl Edwin and then by Hugh Lupus, Earl of Chester and nephew of William the Conqueror. On Lupus’s death, the manor reverted to the Crown and, early in the 13th century, was granted to the Norman family of de Corona. The last member of the family to own it, having no heir, gave the manor to his sister, Ellen, and her husband, John de Legh and has been the seat of the Legh family since 1315.
The great hall rises uninterruptedly from floor to roof, and has a minstrel's and a lady's gallery opening into it. It is 45’ long, 26’ wide, and about 25’ heigh. The open hammer-beamed roof is richly panelled and each panel is adorned with an armorial shield. The heraldic insignia of the seven Norman earls of Chester, and of their eight barons, are displayed in the first three rows.
During the Civil War the Legh’s, like so many of the Cheshire gentry, embraced the side of Charles, and fought his battles zealously. Adlington being garrisoned for the king, the moat was put to its proper defensive use when the estate was besieged by parliamentary forces, but they held out bravely for a fortnight, but eventually forced to surrender. The toll this period took on the collection is still evident in a double portrait of Thomas Legh the Elder and his wife Anne Gobarte which was defaced by sword-slashes made by billeted parliamentarians – and bullet holes in three or four places in the massive oak door to the Hall.
Six miles nearby is the ‘lordly house of Lyme,” which carries back the mind to the days of chivalry, for it was in recognition of services in the wars with France that the domain was bestowed upon Sir Piers Legh, a younger son of the house of Adlington. This branch of the family was seated there for 600 years until 1946.
Inscribed on the canvas verso: “The Rt Hon. Lady Isabella Legh, Sister to Charles Earl of Radnor, Wife of John Legh of Adlington Esq. Sr G. Kneller”.
The elegant modelling of the hands and arms, the slight turn of the head, and the lock of hair trailing down her neck help to imbue the portrait with a sense of elegance and sophistication. This type of portrait was often used by Kneller and his contemporaries as an archetypal example of what wealthy patrons in England wanted - and these portraits lined the walls of many great halls in stately manors throughout the Britain. From a technical point of view, Kneller’s technique of painting on a blue ground and allowing passages of it to be visible in order to suggest darker flesh tones is evident.
Held in its original gilded period frame.
Sir Godfrey Kneller (1646-1723) was one of the most prominent portrait painters in England at the end of the seventeenth century. He painted seven British monarchs (Charles II, James II, William III, Mary II, Anne, George I and George II) and in 1715 was the first artist to be made a Baronet (the next was John Everett Millais in 1885).
He was born in Germany but trained in Amsterdam and studied in Italy before moving to England in 1676. Towards the end of the century, after the deaths of Peter Lely and John Riley, Kneller became the leading portrait painter in Britain and the court painter to English and British monarchs from Charles II to George I. He dominated English art for more than thirty years. His over 40 "Kit-cat portraits" and the ten "beauties" of the court of William III are most noteworthy. He ran a large, busy and successful studio in London and employed many assistants thereby establishing a routine that enabled a great number of works to be produced. His name became synonymous with British portraiture at the time and he rose to great notoriety; and there were countless other artists that strove to emulate his style. He died of a fever in London in 1723 and a memorial was erected in Westminster Abbey.
In Kneller’s will he left 500 unfinished pictures to his chief assistant Edward Byng (c.1676-1753) who in Kneller’s words had "for many years faithfully served me". Byng lived with him at a house in Great Queen Street. Kneller gave him a pension of £100 a year, and entrusted him to complete these pictures, for which he was to receive the payments for them. Kneller had been paid only by half for these; whether his clients were not as expeditious to pay as they were to sit or whether Kneller’s death came first, the reason being unknown. Byng also inherited drawings in Kneller's studio, many now in the British Museum. He later lived at Potterne, near Devizes, where he died in 1753 and was buried. His brother Robert was also a painter and many works have been jointly attributed to both brothers. According to Edward’s will his estate was divided after his sister Elizabeth's death between his nephew’s William Wray, Robert Bateman Wray and Charles Wray (not, as some have suggested, to Robert Bateman Wray and his sister Mary).
Provenance:
Probably commissioned by the sitter's husband, John Legh, and thence by decent at Adlington Hall for approximately 330 years
Literature:
'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130, 'The Drawing-Room';
Country Life, Nov 28, Dec 5, and Dec 12, 1952;
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1960, fig. 2 'The mid-Georgian staircase...
Category
17th Century Old Masters More Art
Materials
Canvas, Oil
H 55.52 in W 46.86 in D 2.76 in
Old Masters more art for sale on 1stDibs.
Find a wide variety of authentic Old Masters more art available for sale on 1stDibs. Works in this style were very popular during the 20th Century, but contemporary artists have continued to produce works inspired by this movement. Many Pop art paintings were created by popular artists on 1stDibs, including (circle of) Pierre Mignard, Thomas Bardwell, (Circle of) Mary Beale, and Mary Beale. Frequently made by artists working with Oil Paint, and Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Old Masters more art, so small editions measuring 0.4 inches across are also available. Prices for more art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $249 and tops out at $48,960, while the average work sells for $10,560.
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