Fabric Paintings

Charles Philips 1703 - 1747 Portrait of a King's Messenger Oil on canvas Image size: 35 ¾ x 28 inches Original gilt frame King's Messenger The job of a King's Messenger was that of a diplomatic courier, hand-carrying important and secret documents around the world. Some say that the history of the sovereigns' messengers goes back to 1199, but the first known messenger was John Norman, who in 1485 earned 4d (1½ pence) per day for carrying the state papers of Richard III. The silver greyhound on the messenger's badge dates back to Charles II. In 1660, during his exile at Breda, Netherlands, Charles II issued a declaration of amnesty to all those who had opposed him and his father. He used messengers to make his intentions known. In answer to the messenger's question "How will they know me?", Charles reached forward to a silver bowl on the table in front of him. This bowl, with four decorative greyhounds standing proud above the rim, was well known to all courtiers. Charles broke off a greyhound and gave it to the messenger as a guarantee that the message came from him. From that date, the King's Messenger always wore a silver greyhound around his neck. Later, dating from George II or III, a badge with the Royal Arms in enamel, with the greyhound suspended beneath, was worn. A George III example of the King's Messenger Badge, pre 1800, sold for over £30,000 pounds some years ago. The silver greyhounds were minted for each new reign, except the brief one of King Edward VIII. The sovereign's messengers were originally controlled by the Lord Chamberlain, being Messengers of the Great Chamber. When the Foreign Office was created in 1782, the messengers remained common to the three Secretaries of State. Charles Philips was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. Philips was baptised in the combined parish of St Mildred, Poultry with St Mary...

Huge and very decorative castle painting. Antique oil painting. Probably 18th century. "Kings from all over the world in Bethlehem". Christian scene. Canvas relined. Big, heavy fr...

Flemish Baroque painting. Romantic scene. Signed and dated. J. HOREMANS 1760. This 100% authentic painting captivates with its powerful colors. A real eye-catcher. Dimensions witho...

Thomas Gainsborough R.A. (1727, Sudbury - 1788, London) Wooded Landscape with Peasants in a Wagon oil on panel 35,5 by 29,8 cm. Provenance Charles, Viscount Eversley (1794-1888); B...

Oil on canvas Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt frame This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. It is possible that this sitter is Miss Anne Dutton. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

This beautiful late 18th-century portrait depicts a young lady holding forget-me-nots. Exquisitely attired in a lavish pink dress, she’s the personification of elegance. In her righ...

Portrait Of Theophilia Gwatkin, 18th Century studio of Joshua REYNOLDS (1723-1792) Large 18th Century portrait of a young girl Theophilia Gwatkin, oil on canvas. Beautiful portrai...

Oil on canvas fixed to a panel. Signed. Very beautiful subject and very typical the colors in that Campeche age.

French School 18th Century Pastoral Scenes Oil on canvas A delightful pair of 18th-century pastoral scenes, this charming set of oil paintings depicts two quintessential tableaus ...

Late 17th, early 18th century old master oil painting depicting an allegory of Lady Justice holding demons at bay Our painting, likely a sketch for a much larger work,, conveys a pr...

Circle of Francisco José de Goya y Lucientes (Fuendetodos 1746-1828 Bordeaux) Portrait of a María del Rosario Fernandéz, called 'La Tirana' (1755-1803). OIl on canvas. 76.5 x 57.2 c...

Giovanni Domenico Ferretti, known as L'Imola (Florence 1692 - Florence 1768) - Sketch with mythological allegory. 52 x 66 cm without frame, 64 x 78.5 cm with frame. Antique oil pai...

The painting copies a reproduction print after a painting by the French artist Nicolas Vleughels (Paris, 1668-Rome,1737). Edme Jeaurat made the print from 1719. Erato -the muse of love poetry- writes down a love poem that Amor whispers to her and holds a lyre in her other hand. Euterpe -the muse of lyric poetry- with her flutes shows that the pastoral poems are hers. The swans – the animals that pull the chariot of the goddess Venus- symbolize beauty and grace. Although the painter has done his best to reproduce the print, his work shows some weaknesses. Most striking is the rather poor anatomy of Euterpe’s shoulders. Her head also seems randomly stuck to them. The original painting by Nicolas Vleughels was part of a series of four paintings...

Figures under Archway Italian School, 18th century oil on canvas, unframed canvas: 13.5 x 16.5 inches provenance: private collection, United Kingdom condition: very good and sound co...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (frame), signed and dated at lower left...

Approach To The Battle of Cape Finisterre 1747 by PETER MONAMY (1681-1749) Large 18th Century British Royal Navy scene of the approach to the Battle Of Cape Finisterre, 1747, oil ...

The painting–thin oil on canvas, in some parts unfinished−can be referred to the hand of the German painter Johann Heinrich Wilhelm Tischbein. It should be dated in the years between...

Oil on canvas; held in an ebonsied period style frame Dimensions refer to size of frame. Charles II’s propagandists cast Cromwell as a brutal despot whereas critics now tend to foc...

Oil on canvas. The large scene is set at the entrance of a village near a stop for horses: numerous horsemen are standing with their animals, which are looked after by the servants...

Follower of Jean-Baptiste Monnoyer (12 January 1636 – 20 February 1699) Still Life Oil on Canvas in Later Giltwood Frame Dimensions refer to size of frame. Jean-Baptiste Monnoyer ...

Follower of Sir Joshua Reynolds (1723 - 1792) A double portrait of a married couple Sir Thomas Tancred (d.1784) and his wife Penelope (d.1837) daughter of Thomas Ashton (or Assheto...

Artist Unknown Medium: Oil on Canvas Dimensions: 16" x 13" (canvas) 22" x 19" (frame) Framed

British Landscape and Marine Artist Robert Willoughby was a late 18th early 19th century British marine painter who specialized in large marine genre...

"Marquis of Sourches and his family at the Country Concert" After Hubert DROUAIS (1699-1767) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 61 x 50 cm (24 x 19.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 17th century Renaissance painting by Hubert DROUAIS (1699-1767), "Marquis of Sourches and family at the Country Concert". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher...