Portrait Paintings

George Knapton (London 1698 - 1778), attributable Portrait of a young aristocratic maiden sitting by a fountain in a garden in the company of a lamb Oil on canvas (127 x 102 cm - Fr...

Ferrara school of the late sixteenth century - circle of Giuseppe Mazzuoli known as Bastarolo (Ferrara 1536 - 1589) St. Jerome penitent in the cave ...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

The Penitent Magdalene French School, 18th century oil painting on canvas, framed canvas: 30.5 x 25 inches framed: 39 x 33 inches condition: exc...

Portrait of an Aristocratic Gentleman in his landscape, circa 1730's Standing, three quarter length, wearing a dark russet coat and holding a book and a cane, circle of Jacopo Amigoni (Italian 1682-1752) oil on canvas, unframed 50 x 40 inches Condition: old lining; retouching, principally towards the edges and in the background; the canvas with slight unevenness where the lining is not secured at upper right. Provenance: private collection, England Jacopo Amigoni (ca. 1685 – September 1752), also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand. He was born in Naples. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi...

17th Century Spanish Colonial School (Likely to be School of Cuzco in Peru) - St. Joseph with the Christ Child carrying a basket, housed in its original carved, hardwood frame. • Painted in oil on canvas (laid on to fiberboard), ca.58 x 48 cm • Original frame, ca. 64 x 54 cm • Visible image ca. 52.5 x 42.5 cm Centuries ago this religious painting, depicting St. Joseph with his flowering staff and the Christ Child carrying a basket, was originally displayed in a church or chapel in 17th Century colonial...

Portrait of a Gentlemen - Oval oil on canvas cm.50x40, Italia, 2006 Eugenio De Blasi Wooden frame available on request The portrait of Eugenio De Blasi is inspired by one of the many portraits painted by Guillam Francois Colson, a French historian painter, who painted portraits of families...

TITLE: AIWEIWEI SIZE: 18X22 INCHES MEDIUM: ACRYLICS AND AEROSOL ON CANVAS YEAR:2023 FRAMED WITH WOOD FRAME SIGNED BY DeGRUPO

Topers in Deep Conversation Dutch School, mid 17th entury circle of David Teniers (Dutch 1610-1690) oil on canvas canvas: 8 x 7 inches provenance: private collection, France conditio...

Jacopo Confortini (Florence 1602-1672) Madonna and Child with Two Angels Oil on canvas 80 x 60 cm./Framed 101 x 81 cm. The proposed painting, datable to around the middle of the 17th century, depicts the Virgin enveloped in a golden glow and reclining on a throne of fluffy clouds, while lovingly supporting the Child on her lap, with two adoring angels...

"Wood You Believe 3" (2022), Chris RWK street art, aerosol, drips, graffiti, illustration, street artist, Staten Island, NY, New York, NYC, character, robot, robots will kill, mixed ...

"The Return from School" English School, circa 1820 after the painting by William Redmore Bigg, RA, British 1755-1828 condition: excellent restored condition Provenance: Christie’s, 1988; Private Collection, UK A very fine Georgian painting capturing this wonderful image from the social history of England. We see a school boy returning home for the holidays, his trunk and belongings being handed over, whilst his mother and siblings watch on, on the steps and entrance to their large country home (the gate lodge stands in the distance). It is a superbly painted work and presented in excellent condition. The image is after the original painting by William Redmore Bigg, RA, British 1755-1828. Chiefly known from their many engraved versions, the original oils...

A fine, imposing 18th century portrait of an unknown aristocrat,housed in a gilt frame The artist is also unidentified but certainly a talented hand, in the circle of one of the fine old masters of the period The size overall is 148 x 121 cm whilst the painting is 128 x 101 cm In overall good condition the frame at the bottom has bowed slightly The painting has been checked whilst being cleaned and has not been affected in any way . SHIPPING Free delivery to mainland uk ,worldwide shipping available please email for quote Delivery usually within 14 working days, insured please provide telephone/email details for courier. All taxes/customs etc to be paid for by purchaser. RETURNS (The Consumer Contracts Regulations) Whilst we are sure that you will be extremely happy with your purchase, if for any reason you are not, then you are entitled to return the item to us for a refund. For all purchases made you are entitled to return the item(s) for a period of up to 14 days following receipt by you or a representative indicated by you. Please contact us to confirm that you are returning the item(s) and the reason for doing so. Upon receipt of the item(s) we will refund the purchase price via your original payment method...

A Superb pair of oval portraits with full provenance. Portrait of John Wood Esq of Hollin Hall, Yorkshire; Portrait of Francis Wood. Circa 1710. Oils on canvas:29 x 24 in. Frame: 37...

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

Portrait of Thomas Collard (rector of Withycombe, Somerset 1670-1691) the city depicted in the distance is thought to be Antwerp. the portrait historically has been thought to be fr...

TITLE: BASQUIAT SIZE: 35X41 INCHES MEDIUM: ACRYLICS AND AEROSOL ON WOOD PANELS FRAMED WITH WOOD FRAME YEAR:2023 SIGNED BY DeGRUPO

Lombard painter of the 17th century Portrait of a Man in Armour Oil on canvas 81 x 71 cm. - In frame 94 x 82 cm. A handsome gentleman in armour, immortalised in an authoritative an...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

Bernard Lucas Sanz (Germany, 1650 - Bergamo post 1710) Saint Alexander Oil on canvas (98 x 72 cm./ In frame 125 x 96 cm.) The painting, depicting Saint Alexander of Bergamo and data...

Italian School, early 19th century 'Portrait of a Bearded Man' - possibly Saint Peter? oil on board, framed framed: 16 x 13.5 inches board: 12.5 x 9.5 inches provenance: private col...

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...

The Madonna & Child, with Goldfinch 18th century Italian School oil painting on canvas within antique oval gilt frame overall size: 33 x 28 inches condition: very good indeed, the fr...

A rare pair of three-quarter length 'marriage' portraits by one of the foremost dutch portrait painters of the 17th century, Nicolaes Maes (Dordrecht 1634-1693 Amsterdam). The gentleman signed middle left 'Maes 1679'. Oil on canvas in dutch style ebonised frames. Dimensions 58 x 47.5cms each. The gentleman is shown in a landscape at dusk, leaning against a stone capital, wearing a white chemise decorated with lace, a black coat and a brown silk cloak draped across his body. The lady is elegantly dressed in an ivory silk gown decorated with jewels on the neckline and shoulders, the contrasting sleeves in gold fabric, with a rose pink silk cloak draped over her shoulder and bodice. She wears a pearl necklace and earrings with her fair hair worn up with ringlets falling down onto her chest in the fashionable style of the day. She stands with one hand touching a lock of her hair as she rests her arm on the bowl of a stone water drinking fountain...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

Jeremy Novy (b. 1979) is a California-based street artist known for his stencils of koi fish and efforts in support of gay activism. Novy’s stencil art is remarkably complex for its ...

Portrait of a noblewoman in ceremonial dress with Chantilly lace mantilla Attributed to Jean Ranc (Montpellier 1674 - 1735 Madrid) oil on oval canvas cm.72 ...

Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...

A copy of the self portrait of William Hogarth with his dog, called Trump. A fantastic quality image possibly from Hogarth's original school of art. This piece is titled, dated and monogrammed. It is in an antique, period Louis XIV style frame. The painting measures 36 x 28" (92 x 72cm) Outside Frame Size: 45 x 37" (104 x 94cm) Hogarth began this self-portrait in the mid-1730s. Initially Hogarth painted himself wearing a formal coat...

Jeremy Novy (b. 1979) is a California-based street artist known for his stencils of koi fish and efforts in support of gay activism. Novy’s stencil art is remarkably complex for its ...

This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...

Jacob Ferdinand Voet (Antwerp 1639 - Paris 1689) Atelier Portrait of the Young Ortensia Mancini, Duchess of La Meilleraye (Rome 1646 - Chelsea 1699) Oil on canvas 75 x 61 cm. - exqu...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

Miniature Portrait French School, late 18th/ early 19th century framed: 5.5 x 5.5 inches board: 2 x 2 inches provenance: private collection, France condition: very good and sound c...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Jan Kraeck, in Italy Giovanni Caracca (Haarlem c. 1540 - Turin 1607) Workshop of Equestrian portrait of Charles Emmanuel I, Duke of Savoy (Rivoli 1562 - Savigliano 1630) known as 'the Great' Oil on canvas (148 × 122 cm - Framed 165 × 139 cm) The work is also accompanied by an expert's report by Dr. Arabella Cifani, which traces it back to a pupil of the master, Giulio Maino (1570 - after 1643) The subject of this fascinating equestrian portrait is Charles Emmanuel I, Duke of Savoy (Rivoli 1562 - Savigliano 1630), immortalised in adulthood, proudly mounted on the back of his white horse, in his sumptuous ceremonial armour trimmed with fine gold ornaments. He wears short hair, a pointed beard and moustache, with a lace ruff around his neck. Nicknamed 'Firehead' by his subjects, due to his manifest military aptitude and impetuous character, he was one of the most capable and cultured princes in the history of the House of Savoy; his birth was announced to the family by Nostradamus, in 1561, who added that he would become 'the greatest leader of his time'. He married the daughter of Philip II of Spain...

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a reinterpretation of the Young Sh...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

Portrait of French King Louis XV (1710-1774) in armour 18th century French school Workshop of Jean Baptiste Van Loo (1684-1745) Circa 1730 Oil on canvas, dimen...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to pres...

This work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame ...

18th century French Rococo portrait of a young noble lady This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...

Circle of Godfrey Kneller (German, 1646 – 1723) Amelie Sophia von Wendt as Aphrodite in the judgement of Paris, later as King George II’s Courtesan, bestowed the title of the Countes...

Portrait of Lord Jeffreys of Wem British School, 20th century (presumably after an earlier work) oil painting on canvas, framed framed: 30.5 x 24.5 inches canvas: 26 x 20 inches prov...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

A head and shoulders portrait of a gentleman wearing a white powdered wig. The gentleman in question is as yet unknown but certainly has the look of an aristocrat. oil on canvas, housed in later gilt frame The painting is 57cm by 44cm (17½ x 22¼ inches high) whilst overall is 58½ x 71 cm (23 x 28 inches high) The condition overall is very good having had some restoration and also relined and cleaned. There is some cracquelure throughout and some areas of retouching a few minor abrasions and losses to the background mainly edges by frame non of which detract from this fine piece. Peter Lely...

François de Troy (1645 – 1730) - Duchesse de Fontanges The young woman, traditionally identified as Mademoiselle de Fontanges, Louis XIV's mistress, is depcited in bust facing forward, her head slightly raised and turned to the left. She seems to dominate the viewer. She is dressed in a blue satin dress and wrapped in an orange satin stole that shines with its most golden luster. His hand with graceful fingers with the index and ring fingers spread apart and the middle finger glued to the ring finger keeps slippery fabrics on his chest. Its stole flying in the wind creates an instantaneous movement and the arm bent at the elbow obliquely transforms its static pose. The perfectly oval face is enlivened by wide gray eyes, a turned-up nose, full cheeks and a mouth that sketches a half-smile. Her powdered and tied hair is studded with many flowers. The young woman wearing no jewelry, the radiance of her youth and her translucent hue are her only ornaments. The juxtaposition between the icy blue satin and the incandescent orange like the heart and the contours of a flame indicates François de Troy's great talent as a colourist. Its vibrant and nervous touch enlivens fluid fabrics, making them sparkling and changing. Their surface is worked in quivering brushstrokes, the serifs and the glazes forming an elegant arrangement. The glazes of the face are treated by superimposing light and transparent layers, producing pearly reflections and a translucent rendering, the technique in which de Troy particularly excels. By François de Troy (Toulouse 1645 – Paris 1730) Early 18th century French School Oil on canvas in oval format: h. 27.95 in, w. 25.18in 19th century period frame Framed dimensions: h. 41.34 in, w. 33.46 in Although unsigned, like the majority of works by François de Troy, our portrait has been authenticated by the French expert cabinet "Turquin" as an autograph work by François de Troy. Provenance : Paris, Heim-Gairac gallery in 1965. Thence private collection. Published in the book on the life of Louis XIV “The Sun King: Louis XIV at Versailles”, Nancy Mitford...

18th century French School François de Troy (1645 – 1730), Paris, circa 1725 Portrait of a Woman as the Goddess Ceres Oil on canvas: h. 39 in, w. 31.3 in Regen...

Rare double portrait depicting Louis XIV and his brother Philippe de France as children. 17th century French School, circa 1645, attributed to Charles and Henri Beaubrun. Oil on canvas, dimensions: h. 48.03, w. 35.43 in. Important 17th century carved and giltwood frame Framed dimensions: h. 60.23, w. 48.42 in. This rare portrait is part of a series of works illustrating the childhood of the two princes, mainly commissioned by Anne of Austria, the mother and regent, after the death of Louis XIII. Expressing her fierce desire to preserve her son's crown, she uses visual communication as a channel of sovereign expression. The portraits serve to strengthen the royal power weakened by the minority of the young Louis...

Hendrick van Balen (Antwerp 1575 - 1632) workshop Possible Jan van Balen (Antwerp 1611 - 1654) Madonna and Child with Three Angels Oil on panel 65 x 50 cm....

A late 17th century French School, Workshop of Nicolas de Largillière (Paris, 1656-1746) Circa 1690 This lovely young woman is portrayed at mid-height, disguised as Flora, goddess of...

Original painting on canvas. Hand signed on front; signed and titled on verso by Jozza. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included....

Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Portrait of a Lady with carnations By Jean Ranc (Montpellier 1674 - Madrid 1735), circa 1700 Oil on canvas in oval shape, Dimensions: h. 35.82, w. 28.34 in. Period Louis XIV giltwood and carved frame with laurel leaves. Framed dimensions: h. 42.52 in, w. 33.85 in. Provenance: Collection of the Marquis de Bailleul at the Château d'Angerville-Bailleul (before 1942). To be included in the catalog raisonné of the artist by Stephane Perreau Important portrait of a young woman depicted half-length turned three-quarters, her face looking at the viewer. Dressed in a brick red velvet dress, an elegant blue scarf envelops her figure. Hair styled “a la Fontange”, her powdered hair is raised and tied at the back with a red ribbon, several curly locks escape from her bun and fall on her back and shoulders. The perfectly oval face with regular features dominated by her straight nose is softened by her gray eyes with slightly lowered lids. The red tinged skin tones on the cheeks and cheekbones color the face and make the portrait come alive. The young woman is portrayed standing near a pot of carnations. Her strongly lighted figure stands out against an architectural background of columns. The artist's palette is made of contrasts opposing warm to cold hues. The icy electric blue contrasts with the fiery brick red, the hair powdered with white accentuates even more the flush of the cheeks. The left arm bent at the elbow, extending the open hand with slightly bent fingers in the foreground brings depth to the composition. Our portrait, an interesting testimony in the corpus of works of the painter, is part of his youthful period, around 1700-1705. The former belonging of this portrait to the Marquis de Bailleul reinforces the remarkable character of our painting. The portrait has been examined by Stéphane Perreau, specialist of Jean Ranc and will be included in the catalog raisonné currently being written, under number P. 43. The notice edited by Mr Perreau is below: "Painted around 1700-1705, this portrait of a woman is directly inherited from Hyacinthe Rigaud, the master of Jean Ranc (the hand turned over the front, in a watch...