Portrait Paintings

This mid-17th-century bust-length Flemish school portrait depicts the Dutch Catholic bishop Cornelius Janssen (1585-1638). Painted when into his later years, this intriguing historic...

Up for sale is an amazing original antique oil painting on canvas by Famous American Artist Henry Peters Gray (1819-1877), depicting a portrait of a W.P. Wright Esq. Some of his paintings are exhibited in the Metropolitan Museum of Art, in New York. The painting has a commemorative inscription on the verso: "For W.P. Wright Esq. Portrait from Henry Peter Gray. Painted at Pittsfield MA August 1860. Please read some interesting information about this Artist from Wikipedia. Henry Peters Gray was born in New York City he was a pupil of Daniel Huntington...

Serge Marshennikov's "Sleeping Beauty," is an original, handmade hyper realistic oil painting on stretched canvas that depicts a feminine model in a...

Van Cuyck Octave Ostend 1870 – 1956 Liége Belgian Painter 'Portrait of a Great Dane – Harlequin' This striking life-size portrait by Belgian painter Octave Van Cuyck captures the c...

A superb c.1840 English School half-length portrait of a lady in an ermine stole and lace cap. The lady's face is flushed with colour as she gazes her chestnut eyes to the left. Tigh...

'The Bather', oil on fine art paper, by Louis Robert Arthur Latapie (1924). A captivating example from the long tradition of depicting the bather, this early work by celebrated Frenc...

This contemporary abstract expressive portrait, Graceful Spirit, was created in 2025 by French artist Natalya Mougenot in her studio in Lyon, France. It is a powerful homage to the q...

"Erlin" is an original artwork by Eustace Mamba and measures 10"h x 8"w x .75"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of texture and colo...

This contemporary abstract faceless portrait of Frida Kahlo, with a touch of impressionism and expressionism, was created by French artist Natalya Mougenot. Titled "Frida in Blosso...

This compelling full-length figure study depicts a girl dressed in traditional Russian folk attire sitting on a chair. Likely painted by a Russian artist in the second half of the 19...

"Florentine Expressions: A Portrait Series V", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an interm...

Portrait of Catherine Parr (1512-1548) English School, 20th century after the earlier painting oil painting on canvas, framed framed: 37.5 x 31.5 inches canvas: 30 x 24 inches condit...

This contemporary abstract expressionist portrait of a woman was created by French artist Natalya Mougenot. Bold, vivid, and emotionally charged, the piece—titled "True Self"—explore...

"Absolutely Ready" (2022) by Clyde Steadman (United States) is an original painting depicting a female in her dressing room putting on heels.

A woman sits in a sunlit room with soft geometric lines and a peaceful color palette of green, beige, and blue. A black cat rests on her lap, staring out the window at a calm, bl...

This fine mid-19th-century German miniature depicts a woman wearing a black dress and a beautiful white and lilac day cap. Produced around 1840, this exquisite piece on porcelain is...

A lovely portrait of a turn-of-the-century elegant woman, perhaps commissioned by a devoted husband (she has a ring on her right hand, which is more common as a wedding ring in north...

"Child Star" Mid Century Portrait of a Boy with Brown Eyes Oil on Canvas Stately portrait of a boy by William Robert Shulgold (Russian-American, 1897-1989). The subject is looking o...

Figurative Portraits French School, illegibly signed and dated 47' circle of Fernand Leger (French 1881-1955) oil on canvas, unframed canvas: 38 x 58.5 inches Provenance: private col...

Luigi Morgari (Italian, 1857–1935) The Nun Oil on canvas mounted on board Signed lower right 14 x 12 inches 21.5 x 19.5 inches, framed Luigi Morgari was an Italian painter, primaril...

In this painting, we see a minimalist room with a huge window, beyond which stretches a sky filled with fluffy white clouds. Muted colors dominate—the blue of the sky contrasts beaut...

Suzy Smith's "Let Them Eat Cake" is an original, handmade oil painting that depicts a portrait of a female nude with a crown set against a backdrop inspired by a Wayne Thiebaud cake...

Portrait of a Woman in Traditional Headpiece French/ Swiss, dated 1855 signed oil on canvas, framed dated 1855 framed: 34 x 27 inches canvas: 32 x 25 inches Provenance: private coll...

Konstantin Razumov (Born 1974) Russian Elegant Nude in Pink Peignoir, standing before a Mirror Oil on canvas: 11 x 16 inches. Frame: 18 x 23 inches. Konstantin Razumov's work has...

"Florentine Expressions: A Portrait Series IX", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an inter...

The painting titled Portrait of a Boy in Profile, likely by Friedrich Wasmann (1805–1886), exemplifies the refined portraiture characteristic of the Biedermeier period. Executed in o...

Amy Devlin portrays people, animals, or nature in her works. But what really matters to her is light and water, which she wants to capture in the form of a physical memory. By follow...

Head Portrait of Jack Russell Terrier Dog English School, 19th century signed oil on canvas, framed dated 1895 framed: 16.25 x 14.25 inches canvas: 12 x 10 inches Provenance: privat...

Suzy Smith's "Meringues" is an original, handmade oil painting that depicts a portrait of a female nude set against a backdrop inspired by a Wayne Thiebaud pie painting...

This is painting is from the School of Cusco depicting St. Michael the Archangel defeating the devil in battle. It is oil on canvas and is in very goo...

The portrait of Prince Valdemar Christian of Schleswig-Holstein, painted after Justus Sustermans, captures the young prince in a moment of poised elegance. Depicted as a young man, t...

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...

This contemporary abstract piece of a woman holding green apples titled " My green apple bowl".was created by French artist Natalya Mougenot. French contemporary artist Natalya Mou...

The Renaissance Lady Roman School, circa 1890-1900 period oil on board, framed in original Italian ornate frame framed: 17.5 x 16.5 inches board: 11 x...

Antony Rives, Portrait of the brother of the artist, 1888 Titled "A mon frère" (to my brother) dated and signed upper left Oil on canvas 61 x 50 cm In its vintage frame : 71 x 59 c...

ARTIST: Margaret Dorothy Nicholson (1886-1972) British TITLE: "Portrait Of A Lady Steering A Boat" SIGNED: unsigned MEDIUM: oil on board SIZE: 57cm x 47cm inc frame CONDITION: ver...

The Young Officer English School, 19th century oil painting on board, framed in very fine quality antique gilt frame framed: 17 x 14.5 inches board: 12 x 9 inches condition: very goo...

This impressive British 1940's portrait oil painting is by noted artist Arthur Royce Bradbury. Painted in 1949 it is a half-length portrait of a young Scottish girl in a mountainous ...

This stunning British Victorian Pre-Raphaelite Royal Academy exhibited oil painting is by note female Suffragette artist Emily Mary Osborn. Painted in 1877 it was exhibited at the RA...

This contemporary abstract expressive portrait, On My Own Path, was created in 2025 by French artist Natalya Mougenot in her studio in Lyon, France. It presents a faceless woman with...

Anonymous (English School) Prize Bull Portrait, mid-19th century Oil on canvas, housed in a figured maple frame This striking and endearing portrait of a prize bull stands as a test...

Portrait of the Artists Mother *see below by Gladys Marguerite Baker (British, 1889-1959) signed, titled verso oil on canvas, framed framed: 29 x 17 inches canvas: 24 x 12 inches Pr...

The Cornish Fisherman Signed by David W. Haddon (British, flourished end of the 19th century) Oil on board, framed framed: 13 x 11 inches board: 10 x 8 inches Provenance: Private col...

This stunning British Victorian Pre-Raphaelite Royal Academy exhibited oil painting is by noted historical female artist and suffragette Jessie MacGregor. She was tutored by Lord Frederick Leighton at the Royal Academy art schools in the 1870's and his influence can be seen here. Painted in 1892 and exhibited that year, the subject matter is when Dante, (1265-1321) later an Italian Florentine poet, first met Beatrice, the love of his life when he was nine. They met in a gathering at her father's palazzo in Florence. She was a few months younger than Dante and dressed in a crimson dress. They never actually spoke for another nine years although Dante often observed her. They were both married off during this time, as was the custom then and Beatrice died aged only 24. Dante remained devoted to Beatrice for the rest of his life and she was his principal inspiration for much of his well known work, such as La Vita Nuova (The New Life) and La Divina Commedia (The Divine Comedy). (see below biography for more details on Dante and Beatrice). This stunning Pre-Raphaelite oil painting depicts Beatrice kneeling on the grass, holding flowers and gazing up at Dante as he stands beside her, hands over her head, perhaps miming crowning her. Other children and their maids dance around them. Beyond them is a Florentine garden with beautiful arches and some figures to the right. To the left one can glimpse the landscape under a summer's sky. MacGregor has portrayed superb detail in the figures expressions and clothing with rich red and gold tones and the vivid blue sky echoing in the little boy's tunic. The brushwork is fantastic. MacGregor painted some fantastic paintings in her time, many of which were exhibited and now hang in art galleries. This painting is a superb example of her work, with excellent provenance and would grace any wall. Signed twice 'Jessie Macgregor/1892' lower right. Provenance. Anon. sale, Sotheby's, Belgravia, 11 December 1972, lot 195. Exhibited London, Royal Academy, 1892, no. 905 entitled In the Childhood of Dante. From this time forward love ruled my heart. Literature Royal Academy Illustrated, 1892, p. 78. Condition. Oil on canvas, 65 inches by 35 inches and in good condition. Frame. Housed in a gilt frame with ornate flower corners and reeded edge, 87 inches by 57 inches, in good condition. Jessie MacGregor (1847–1919) was a British painter. She was born in Liverpool to a Scottish father, Alexander (1820-1898) and Liverpudlian mother, Sarah (1820-1894). She had an older brother and 7 younger siblings. MacGregor first learned drawing at the drawing academy in Liverpool run by her grandfather Andrew Hunt, a landscape painter. Her mother taught her to use water colours. Her parents went to live in London and she began to study painting there, becoming a pupil at the Royal Academy Schools in 1870 for seven years where her teachers were Lord Leighton, P. H. Calderon, R.A., and John Pettie, R.A. She won a gold medal at the Royal Academy for history painting in December 1871, the prescribed subject being An Act of Mercy. She was the second woman after Louisa Starr's gold medal in 1867, and the last woman to do so until 1909. She first exhibited at the RA whilst still a student, in 1871. She continued with a historical genre when history paintings were broadening their reach towards literature and romance. Her subjects were almost always women or children. MacGregor was made an Academician for the Liverpool Academy of Art in 1874. By 1880 she was using a studio on Elm Tree Road and exhibiting regularly at the Royal Academy. in 1884 her brother Archibald also started working from this address and they both had paintings at the RA that year. In 1888 she moved studio to Hill Road St John's Wood. In 1892 MacGregor had two painting at the RA, a portrait of Miss Phyllis Eden and our painting, In the Childhood of Dante. This was described as a fresh bit of Italian Childhood and harmonious colour grouping by the Western Daily Press. Portraits rarely got a mention in the papers but narrative works were much more popular. She lectured widely for the Victorian University extension scheme at the Arts Clubs of Liverpool, the National Gallery and Leighton House museum and other regional centres. MacGregor had a studio in Chalcot Gardens Hampstead from 1900 and began to get involved with women's issues. In 1904 she was on the committee of the Lyceum Club London along side Henrietta...

Title: "Travesti, Hairy Diva" Artist: Unknown Technique: Oil on canvas Dimensions: 24.4 x 20.5 in Period: 21st century Framing: Unframed Work Description "Travesti, Hairy Diva" is a...

"Pink Hair Lady" is an original artwork by Eustace Mamba and measures 14"h x 11"w x 1.25"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of textu...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

Edgard Farasyn 1858 – Antwerp – 1938 Belgian Painter 'The Mischievous Little Artists' Signature: signed middle lower left and dated 'Edg. Farasyn 1881' Medium: oil on canvas Dimens...

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...

Matt Talbert's "In Repose" (2025) is an original, handmade oil painting on panel that depicts a portrait of a brunette seated at a table in deep contemplation. Artist bio/statement...

Portrait of a Young Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Pro...

ARTIST: G.C.Neale (mid 20th Century) Spanish / English School TITLE: "Two Suspicious Men At Night" MEDIUM: oil on canvas SIZE: 95cm x 80cm inc frame NOTES: This original oil paint...

Elegant Victorian original oil portrait of Mrs. Rogerson by John Charlton Robert Azensky Fine Art is pleased to offer this fine example of Victorian portraiture of Mrs. Frances Mary...

Painted with wonderful, free brushstrokes this fabulous painting encapsulates the joy of an English summer's day with a young beauty resting at the side of a fountain in a cottage ga...

ARTIST: George Henry Grenville Manton (1855-1932) English TITLE: "A Sketch From Life" MEDIUM: oil on canvas SIZE: 86cm x 76cm inc frame CONDITION: original condition, images taken i...

'Echoes of the Avant-Garde: Mid-Century Visions XIII', oil on board (circa 1970s), signed OT. Step into a world where the spirit of early 20th-century modernism meets the bold experi...

This is a reproduction of a Francis Bacon's painting Portrait of Michel Leiris, originally created in 1976. This work is a notable example of Bacon's ability to capture the psycholog...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) School of Portrait of a gentleman in armour: Joseph Jean Raymond de Lasbordes, Officer of the “Régiment des Landes” (infantry regime...

'Echoes of the Avant-Garde: Mid-Century Visions XI', oil on board (circa 1970s). Step into a world where the spirit of early 20th-century modernism meets the bold experimentation of ...

'Echoes of the Avant-Garde: Mid-Century Visions IX', oil on board (circa 1970s) by STM. Step into a world where the spirit of early 20th-century modernism meets the bold experimentat...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

This exquisite antique English School oil painting captures the poised elegance of a young woman from the early 19th century, dressed in a richly hued burgundy gown adorned with a fi...

This early 19th-century half-length portrait attributed to British artist George Clint ARA (1770-1854) depicts a young lady wearing a beautiful brown dress, bonnet decorated with small flowers, gold earrings and coral necklace. Clint was a distinguished painter and mezzotint engraver predominantly known for portraiture and dramatic scenes. Set before an evocative classically-inspired backdrop, she looks out from across the centuries with a composed demeanour. Adorned in the latest fashions, oversized ‘gigot’ sleeves, a delicately-poised bonnet, and a coral necklace for good luck. It’s a charming portrayal by a masterful hand. Born at Drury Lane, in the heart of London’s West End, George Clint was destined to lead an exuberant life amid the spectacle of theatreland. His father, Michael Clint, was a hairdresser during a time of “hair pomatum, whalebone, wire, lace gauze, and feathers” - so young George would have encountered a variety of ‘characters’ during his childhood. But despite these elevated surroundings, he soon discovered the darker side of London when thrust into the world of employment. Apprenticed initially as a fishmonger, he trained under a ferocious master who was known to beat him. The hours were unsocial, the conditions rank, and the work was brutal. He soon quit but subsequently found himself toiling for a corrupt attorney who demanded he undertake unscrupulous acts on his behalf. Seeking a less volatile role, he turned next to house painting, at which he excelled. Commissioned, among other projects, to paint the stones of the arches in the nave of Westminster Abbey. Aside from an incident whereby he almost fell from the second story of a building, all was going well. Following his marriage in 1792 to Sarah Coxhead, a farmer’s daughter, he began work in earnest as a painter of miniatures, determined to forge a career. Robert William Buss’ memoir celebrates Clint’s success as a miniaturist, stating that “great manual excellence was united with that chaste, delicate feeling for female beauty which characterised all Mr. Clint's portraits of ladies.” Until this point, it appears he was predominantly self-taught, presumably constrained by a lack of finances. But from hereon in, his industrious nature coupled with several fortunate encounters, led to him developing an enviable talent for both painting and engraving. During the early 19th-century, the acquaintances one kept could make or break your fortunes and perhaps acutely aware of this, Clint’s ‘society’ was an ever-evolving circle of influential personalities. He was “initiated into the mysteries of engraving” by Edward Bell (act.1794-1819) and produced numerous works after the foremost artists, such as George Stubbs, John Hoppner, and Thomas Lawrence. Following a commission from Lawrence, he struck up a long-term friendship. Admired for his skill as a mezzotint engraver, he sought next to hone his technique in oils and, as with many aspiring portraitists, his first work in this respect was a depiction of his beloved wife. The pair were both delighted with it, yet over time Clint began to doubt himself and sought the validation of a superior hand - that of Sir William Beechey (1753-1839). However, paralysed with insecurity, he couldn’t face the potential criticism, so his wife took it instead - “with a child under one arm and the portrait in the other”. The result was immeasurably more positive than he’d envisaged and he became closely associated with Beechey until his death in 1839. Numerous commissions followed from the landed gentry including Lord Egremont, Lord Spencer, and Lord Essex. But also from the theatrical community who would fill his studio at 83 Gower Street, Bloomsbury. His connections within the world of acting led to notable works such as ‘Malvolio and Sir Toby’ (from William Shakespeare's 'Twelfth Night', Act II, Scene iii)’ and ‘Harriet Smithson as Miss Dorillon, in Wives as They Were, and Maids as They Are’. While his efforts in mezzotint included several contributions to JMW Turner’s Liber Studiorum. As a measure of his success, Clint was elected an Associate of the Royal Academy in 1821 - a position he later relinquished for personal reasons. Today, he’s represented in numerous public collections including at The British Museum, Harvard Art Museums, The Met, V&A, Yale Center for British Art, and the National Portrait Gallery. “The respect in which he was held, not only by his brother artists, but by an immense number of eminent men in various professions, and others of the highest rank, was the result of a rare combination of talent, candour, suavity of manner, and integrity of purpose”. [Obituary, 1854]. Housed in a period gilt frame, which is probably original. Learn more about George Clint ARA in our directory. Labels & Inscriptions: Supplier’s stencil from Rowney & Forster. The National Portrait Gallery holds a database of supplier’s stencils over the decades. The one here is also presented on two other works by George Clint. ‘Falstaff’s Assignation with Mrs Ford...

Georges Croegaert Antwerp 1848 – 1923 Paris Belgian – French Painter 'Cardinal in His Thoughts' Signature: signed lower right and placed ‘Georges Croegaert Paris’ Medium: oil on pa...

17th century Flemish Old master painting "The Rest on the flight into Egypt", Victor Wolfvoet the Younger Amidst a serene landscape, the Holy Family rests beneath the shade of a spr...

The Jewish Bridge antique Dutch School, after the 1660's oil painting by Rembrandt (Rijksmuseum, Amsterdam) oil painting on canvas, framed in its antique gilt frame with ornate mould...

Romantic, pre Raphaelite painting titled 'Cinderella', this oil on canvas painting is in the Victorian period after a painting noted to be in the collection of Sir Andrews Lloyd Webb...

Original art by Daria Kusto. acrIcrylic on wotercolor paper. The magic flow reality... Shipped free well protected unframed.

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Josue M Pierre...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

This charming early 18th-century three-quarter length portrait depicts a lady wearing a decolleté blue velvet dress with a slit in the bodice. Red fabric is draped around her, and sh...

Two figures stand, facing the horizon, their eyes fixed on a missile flying horizontally. Its fiery trail cuts through the calm sky, and the moment hangs between “there’s still time”...

Charles Burdick (1924 - 2016) Untitled (Reclining Nude) Oil on paper (?) Sight: 7 x 10 1/4 in. Framed: 14 x 16 1/4 x 3/4 in. Signed lower right: Burdick Excellent midcentury style r...