Portrait Paintings

Extremely decorative and large oil painting from the 17th century. Restored in places.   Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...

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...

Date: 1912 Medium: Oil on Canvas Sight Size 18.50" x 12.50", Framed 27.50" x 21.50" Signature: Signed Lower Left July 1912 Woman's Home Companion Magazine Cover

Provenance: Possibly Antonio Amici Moretti, Rome, 1690 Roy Clyde Gardner, Union, Mississippi, 1970s until 2004; by whom given to: Mississippi Band of Choctaw Indians, 2004-2010 Lit...

Sir Godfrey Kneller with studio, Inscribed Mr. Bagnal Lower left. Godfrey Kneller and studio , Unlined, old cleaning. Old Frame. Frame was repainted and has some chipping and a fe...

ALFRED RETH 1884-1966 Budapest 1884-1966 Paris (Hungarian/French) Title: Portrait of the Musician Mazzi, 1912 Technique: Original Signed Oil pain...

Date: 1918 Medium: Gouache on Board Dimensions: 30.00" x 22.00" Signature: Signed Lower Right Boys, My Sister From the East, American Magazine illustration, April 1918

A stylish portrait of a fashionable aristocrat dating to the late 18th century. Her hair is bedecked with pearls and worn in a style popular in the 1790’s. Her apple green gown is d...

Olio su tela. E' il ritratto del principe Tommaso Francesco di Savoia (1596 -1656), capostipite del ramo Savoia-Carignano. Nel 1620 divenne infatti, per disposizione del padre, Princ...

This mid-18th-century Dutch oil painting depicts a seated 17th-century gentleman within a room by a forge. During the 17th century, the Netherlands flourished as a hub for trade and...

Olio su tela. Scuola emiliana del XVIII secolo. Grande ritratto di un nobiluomo del XVII secolo, abbigliato con un elegante manto bordato di pelliccia maculata e con la parrucca bia...

Portrait of a Noble Young Girl, aged 9, in a black dress with lace ruff and cuffs, Dated 1619 Circle of Cornelis van der Voort (1576- 1624) Oil on cradled panel Presented by Titan ...

Antichità Castelbarco SRLS is proud to present: Scipione Pulzone, known as Il Gaetano (Gaeta, 1544 - Rome, 1598) workshop of Mary Magdalene at the Tomb Oil on canvas (131 x 99 cm. -...

"Portrait of a Gentleman, 1913" by Heinrich Dohm is a striking example of the Danish artist's mastery in capturing the essence and character of his subje...

Saint George and the Dragon Alpine painter, 17th century Oil on canvas 142 x 96 cm. - framed 158 x 111 cm. The large painting evocatively illustrates the triumph against the dragon...

Spanish School (18th Century), A Rare Portrait of Juan Procopio de Bassecourt, count of Santa Clara, governor of the island of Cuba between December 1796 and May 1799. The lighthouse...

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 oak panel Image size: 14 1/4 x 11 3/4 inches (36 x 30 cm) Period style frame This portrait shows Chaucer with a string of beads in one hand and a writing implement in the other. The Arms in the top left of the picture are the Arms of Chaucer, featuring a per pale argent and gules, a bend counterchanged. This painting appears to derive, like all other portraits of Chaucer, from an illustration in an early fifteenth-century manuscript, Hoccleve's De Regimine Principum. Here Hoccleve included one portrait of Chaucer, showing him with an inkhorn around his neck and holding a rosary in one hand. Since it is likely that Hoccleve had met Chaucer, many scholars believe this could be the most genuine representation of the English writer with all other depictions being seemingly based on it. In almost all portraits of Chaucer, including this one, the poet is shown wearing a pendant attached to his vest. This item is often considered to be a penner, included in the artworks as a sign of the general occupation of a writer. Whilst the pendant is generally accepted as a case for a writing instrument, possibly with equal plausibility, it has also been suggested that the item is an ampulla, a small lead vial containing water and the blood of St. Thomas Becket...

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...

Very fine old master miniature of Queen Catherine of Braganza Catherine of Braganza's life is a compelling mix of heroism and valuable contributions. ...

Follower of Rosalba Carriera (Venice 1673 - there 1757) - Portrait of a lady. 51 x 42 cm without frame, 79 x 67 cm with frame. Antique pastel painting on paper, in a carved, perfor...

Paul van Somer, circle of (1576, Antwerp - 1621, London) Portrait of a lady in a lace collar. Oil on panel. 64 x 49.5 cm. Provenance Private collection, Switzerland The present...

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...

This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted three quarter length and seated within the surroundings of a wooded landscape resting her arm on a classical plinth. The classical architecture signifies cultivation and sophistication, and the pastoral background implies a virtuous character undefiled by the possession of great wealth and estates. Her body is enveloped in a luxurious russet cloak and a gauzy green and gold scarf. The clothing – known as “undress” at the time - was popular in portraiture. This, along with the type of portrait, and the style of clothing and hair help to date the portrait to circa 1684/87. The painting abounds with ingenious flourishes and demonstrations of the painter’s skills. A remarkable care is exercised, for example, in the handling of the drapery and the depiction of the hands have been rendered with remarkable confidence and sophistication. In the past it was thought that the sitter was a member of the Fairfax family of York - a long-established Yorkshire Catholic family who owned extensive land and property in the county. Their principal residence was Gilling Castle, 20 miles north of York. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687. King Charles II was so impressed by a portrait Wissing painted of his illegitimate son the Duke of Monmouth in 1383 that he commissioned his own portrait. (Royal Collection) and that of his Queen Catherine...

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...

École Française du XVIIIe. « Portrait d’un gentilhomme en uniforme ». Cadre rond en bois doré à d’époque Restauration à motifs de perles. Hors tout H.54 L.50.

Olio su tela. Ritratto diAustria Maria Teresa d'Asburgo (1717 - 1780), che nel 1740 divenne la prima (nonché unica) donna della Casa d'Austria a ereditare il governo dei vasti possed...

In this touching composition a young woman has been depicted wearing a dark coloured dress, draped at the bodice with a gauzy silk scarf and with pearls and large diamonds, over a wh...

Oil on oak panel Image size: 17 1/4 x 22 1/4 inches (44 x 56.5 cm) Period oak frame This is a portrait of a Tudor gentleman in an open next shirt with one hand raised to his chest. ...

A Venetian Gentleman 18th Century Venetian School oil painting on board, framed framed: 7.25 x 6 inches board: 5.25 x 4 inches provenance: private collection, UK condition: some scu...

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

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 ...

When viewed straight on, this "turning picture" by French artist Gaspar Antoine de Bois-Clair appears to be a disorganized collection of painted facial features and wooden slats. However, when viewed at an angle from either side, two separate images are revealed — portraits of Frederik IV and Louise of Mecklenburg-Güstrow, the King and Queen of Denmark. A wonder of both portraiture and trompe l'oeil, this work demonstrates the artist's skill in rendering intriguing visual effects. An impressive exercise in representing depth and 3-dimensionality in painting, the work is executed on a series of triangularly-cut strips of wood to create an effect now known as lenticular imaging...

This elegant large-scale portrait, presented by Titan Fine Art, is a fine example of Sir Godfrey Kneller’s court-style depiction of aristocratic and wealthy women. Beautifully composed, the sitter is three quarter length and seated within a wooded landscape. Pastoral backgrounds imply a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. The sitter wears an azure dress with a russet cloak elegantly draped over her arm and around her body. In this picture, we can see Kneller’s technique at its best, the excellent drawing of the face. It is painted with a delicacy that contrasts with Kneller’s more usual bold manner. The sitter is also unencumbered by high fashion or a background of stately topography. The emphasis is instead placed directly on the alluring femininity, and enhanced by the loose drapery and falling hair around her shoulder. We can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones. In both techniques, we should bear in mind Kneller’s own advice, when rebuking those who peered at his works too closely, ‘My paintings were not made for smelling of…’, and yet here the sitter’s face bears even the closest scrutiny. In accordance with the sitter's age, and the style of clothing and hair, this portrait can be dated to the 1690s. Traditionally this portrait is thought to represent Susannah Papillon (nee Gregory) who was born on 13th Feb 1699 and married John Gregory Esq. However, the portrait was painted before her birth; the sitter is almost definitely her mother, Susannah Henshaw Papillon (1661-1707). Indeed, a portrait of “Susannah Henshaw, 2nd Wife of Philipp Papillon” (oil on canvas, 49.6 in. x 40.2 inches), sold at Dorotheum on October 4, 2000 [Lot 389], bears a striking resemblance to the sitter in our portrait. Susannah Henshaw was a daughter of George Henshaw, a merchant and diplomat who served as British Consul in Genoa (d.1724). In 1695 she married Philip Papillon MP (1660-1736) as his second wife. The Papillon’s were a line of politicians and land-owning gentry whose family home was Papillon Hall and Acrise Place, in Kent (a house dating from the 16th century and held by the family from 1664 to 1850 and 1946 to 1986). The couple had issue: Thomas Papillon (c.1696-c.1714), Elizabeth Papillon (c.1697-1729), Phillip Papillon (1698–1746), Susannah Gregory Papillon (13 Feb 1699–), and Sarah Papillon (born 1701). As the portrait was painted in the 1690s, and with the inclusion of the sweetbriar roses in her hand, a representation of love, this portrait was almost certainly painted to celebrate the occasion of her marriage in 1695. The Papillons were Huguenots. Thomas Papillon was Captain of the Guard to Henri IV of France but he sent his family to England in 1588 to avoid persecution as Protestants. His second son David (d.1659), an architect and military engineer built Papillon Hall in Lubenham (Leicestershire) in about 1620. He married as his second wife Anne Marie Calandrini, whose family had fled Italy as Protestants. Thomas (d.1702) the eldest son of this marriage purchased Acrise Place, Kent in 1664. He was a prominent merchant and campaigner for civil and religious freedoms as M.P. for Dover and then for London. His son Philip (d.1736) was also M.P. for Dover and married the sitter in our portrait. In the early 18th century Papillon Hall ceased to be used by the family and was sold to yeomen graziers. In 1850 the Papillons sold Acrise to William Mackinnon MP after whose death it was sold in 1908 to the Walney family, who occupied it until 1936. After standing empty for a time the house was used by the Army during the war and repurchased by Mr. A.H. Papillon, a descendant of the estate's original owner around 1946. The Folkestone Building Company purchased the property in 1986 and undertook a major programme of restoration. The main house is now divided into two separate properties, Acrise Place and Acrise Court. Although history records what became of the sitter’s husband (and his heir) it is not known which branch of the family held this portrait in the eighteenth and nineteenth centuries. It is possible that a collection of art and furniture, which may have included this picture, was reassembled at the time of Acrise Place's re-acquisition around 1946. The painting was recently located at Dewlish House, near Dewlish. The house is one of Dorset’s most beautiful country houses and is Grade I Listed. It was built in the Queen Anne/Georgian style in 1702 by Thomas Skinner, on the site of a large Roman villa. The property is set in 296 acres of picturesque parkland with farmland, forests, and a private lake. It was owned for two centuries by the Michel family and their descendants, including Sir John Michel, a notable soldier who served in the Crimean War. Anthony Boyden purchased the property in 1962, representing only the second time the property was sold in its 300-year history. This exquisite painting is held in its outstanding original hand carved and gilded frame – a work of art in itself and is in excellent condition. Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture...

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...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

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...

Portrait of a lady, seated on an ornamental garden terrace, wearing a russet coloured dress adorned with pearls and jewels, by Caspar Netscher, c.1680....

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...