Portrait Paintings

Portrait Of CLAUDE-LOUISE DE LORY (1706-1742), 18th Century French School Large 18th Century French portrait of a lady identified as Claude-Louise De Lory. Excellent quality and c...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

Portrait Of Flora, 18th Century after TITIAN (1488-1576) - Large Study Large 18th century Italian old Master Renaissance depiction of the Goddess of Spring, Flora, oil on canvas. ...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

A fine oval portrait of George Granville, PC, 1st Baron Lansdowne and "Duke of Albemarle" in the Jacobite peerage (1666-1735) Studio of Sir Godfrey ...

"Saint Joseph and the Christ Child" Manner of Guido Reni (1575-1642) Italian. Oil on Copper, Unframed painting: 9.35 x 7.25 inches Condition ...

Clemens August Ferdinand Maria Hyazinth, Duke of Bavaria (* August 16, 1700 in Brussels; † February 6, 1761 in Koblenz) was as Clemens August I from 1723 to 1761 Archbishop of Cologne and thus at the same time Elector of the Holy Roman Empire, sovereign of the associated archdiocese as well as the tributary lands of Recklinghausen and Westphalia. In addition, he was Legatus natus of the Holy Apostolic See in Rome and Archchancellor of Imperial Italy. Furthermore, he combined the offices of Grand Master of the Teutonic Order...

Beautiful Balanise Portrait of a girl with garlands of flowers in her hair by DULLAH (1919-1996). Dullah was an Indonesian artist who painted many portraits and is in all museums. ...

English family portrait from the late 18th century. The canvas is aged accordingly with newsprint from October 1847. The painting is framed in a decorative gold frame with an open ba...

Portrait Of Thomas Paget, Governor Of Minorca, Marquess Of Anglesey, 18th Century English School Large 18th Century portrait of Thomas Paget, Governor of Minorca, Marquess of Anglesey, oil on canvas. Excellent quality and condition portrait of the young Marquess and Governor in red robes and a big wig who was a prominent military officer serving under the Duke Of Marlborough and serving the 7th Dragoons Guards as well as the 22nd Regiment of The Foot. He also served as an MP of Ilchester. We have reframed but the portrait comes as he was found and is untouched by us. Provenance: From a deceased estate, Paris, France. We have replaced the old frame that had degraded but retained the plaque. The previous owner had purchased the portrait from a London dealer...

Frame size 80x69 cm. Joan Cruspinera Muñoz was born in 1945 in Tiana, Barcelona. This Catalan artist is a painter, draftsman and painter. His training...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

This fine, antique portrait miniature was made after Boucher's famous painting of Madame de Pompadour, the highly celebrated official mistress of King Lo...

'Outstanding in His Field', oil on cardstock paper, by Raymond Debiève, 1976. The artist depicts a salt-of-the-earth farmer seated on a fence post, arms crossed with a look of wholeh...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

French School, Portrait of a Lady, Rococo, 18th Century, Fine drawing in Pastel/ Oil Pastel on Paper in the style of Vivien. The Lady might be a woman from Marie Antoinette's Court. It is part of a Pendant (see the other listing with the portrait of Queen Marie Antoinette...

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

Certainly a family of artists, such as, of course, Amadeu (1912-2004), known for a long artistic career, as a teacher of several generations of painters and as an artistic popularize...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

'Woman with Yellow Blouse', oil on cardstock paper (1979), by Raymond Debiève. Here the artist paints a woman posing in front of her home under a blue sk...

The Penitent Magdalene, 18th Century Studio of Pompeo Girolamo Batoni (1708-1787) Huge 18th Century Italian Old Master depiction of the Penit...

Henry Pickering, Portrait of a Gentleman Oil on canvas; signed and dated 1759; held in a giltwood period frame Provenance: Lenygon & Morant Ltd. c.1900; Knoedler, October 1912 (Sto...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

Artist/ School: Italian School, early 18th century Title: Mary Magdalene attended by Cherubim Medium: oil painting on canvas laid on board, framed Size: painting: 34cm x 49cm ...

THOMAS BEACH (1738-1806) Two Children Oil on canvas Canvas size : 50 x 40 inches (127 x 102 cms) Framed size : 57 x 47 inches (145 x 120 cms) Frame : Early 20th century carved ...

Family Portrait Of Mrs Spencer & Children, 18th Century circle of William BEECHEY (1753-1839) Huge 18th Century English School portrait of a lady trad...

This portrait is extremely important in the reconstruction of the corpus and of the life of the artist thanks to a significant inscription on the back of the canvas that says “Ritrat...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

'The Cyclists Rest Stop in Honfleur' by Jean-Marie Luc Blanpain, oil on canvas (circa 1970s). The artist's depiction of the terrace of the well known Honfleur restaurant, 'Au Relais ...

Wonderful monotone figurative of clown wearing a top hat with a parrot by Alice Jean Small (American 1918-2009), c. 1970. Signed lower edge. Condition: Good; some wear around edges consistent with age/use; frame is rustic and shows minor age. Image size: 28"H x 22"W. Alice Jean Small was a trained artist, graduating from the University of Washington School of Fine Arts with a Master's Degree. She continued her studies, traveling around the world and settling in California's Monterey Peninsula. Alice Jean Small was born in Sandpoint, Idaho, on December 11, 1918. She studied art at the Derbyshire School of Art and she went on to obtain a Master of Fine Arts Degree in water color from the University of Washington School of Fine Arts. Following her graduation, she studied at many universities in both the United States as well as foreign countries, learning from artists such as Amedee Ozenfant, Emilio...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

This early surreal figurative work by Jacob El Hanani was done in 1971. It is ink on paper. Measurements of the paper are 35X25 cm. It is dated and hand signed in Hebrew in the botto...

Portrait Of A Wet Nurse & Baby, 17th Century Rare & Unusual English School Portrait Large 17th Century English School portrait of a wet nurse and baby breastfeeding, oil on canva...

Portrait of Johann Quantz (1697-1773), flautist and composer, wearing a blue velvet coat, waistcoat and breeches, standing in a garden landscape with ...

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

An Allegory Of Marriage, 18th Century English School Large 18th Century English School allegory of marriage, oil on canvas. Rare allegory of life scene with two married couples on...

Prize Bulls, Farmer & Owner, 18th Century Early French School Oil On Panel Fine 18th century French School prize bull scene with the farmer and owner, oil on panel. Very early prize bull scene with a pair of bulls accompanied by their owner and the farmer. Excellent detail with influences of Paulus Potter...

Oil measures 46x38 cm. Frameless. Catalan painter trained in Olot and the Llotja in Barcelona, ​​where he was a disciple of Lluis Muntané. Through his travels he completes his train...

Portrait of Marie Camille (nee de Beer), Countess de Lalaing and her dog, 18th Century - married to Charles II Joseph, count de Lalaing, 11th Viscount of Audenaerde and Count of Thildoncq school of Alexander ROSLIN...

Oil painting on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur...

The Lamentation Of The Death Of Christ, 17th Century after Pier Francesco Mazzucchelli (1573-1626) Fine huge 17th Century Italian Old Master depiction of the Lamentation at the Dea...

Portrait Of A Piedmont Nobleman & Military Officer, House Of Savoy, early 18th century Italian School Fine large 18th Century portrait of a Piedmont ...

Italian painting of Alphonsus Liguori in French Neo-Gothic Frame Italian and French, Late 18th and 19th Century Frame: Height 61cm, width 39cm, depth 6cm Panel: Height 28cm, width 22...

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and dated 1971; additionally signed, verso, and titled, 'Leslie'. Winner of the Prix Othon Friesz, Victor di G...

Together. Cardboard, oil, 50x39.5 cm Double portrait of a man and woman Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, po...

The sun. 1973. Cardboard, oil, 33x46.5 cm Woman portrait in orange colors Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Riga in a Russian-Polish-German family. Vladimir Glushenkov...

Portrait Of Henry Farington, East India Company, 18th Century attributed to Arthur DEVIS (1712-1787) One of a matching pair - the other is believ...

Rabin Mondal - Face ; Watercolour on Paper 9.6 x 12.8 inches (unframed) ; 2008 ( Shipment will be in a ready to hang ) Mondal was a clear observant of the various migrant workers who lived along his house in the conjected Howrah Area. They came from far to work and earn their livelihood. He would observe them and was deeply moved by the labour and low rung working class who carried all the heavy load oriented work. He would paint the men and the women , some distressed , some gloomy but with a force that would uplift them to be the heros of the society. Surprisingly Mondal was never depressed himself although he painted people in hard labour and poverty . Style : Mondal`s works are mainly figurative. He paints in bold strokes and creates tableaux, whose themes are universal. The faces of his figures stare at you out of the canvas, strange and pensive, but also strong and defiant. Not yet beaten, survi...

Vibrant portrait of a Filipino girl playing a harp by an unknown artist (20th Century). This piece is done in the style of traditional Filipino art, with ...

Signed lower left, on the male portrait, 'Marjory Hillman' for Marjory Hillman Beardslee ( American, 1915-2015) and dated '1975'. Signed lower left, on the female portrait, 'M. Hillm...

Flirt. Cardboard, mixed media, 50x40 cm Abstract/Surrealist composition with two fasec Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, grap...

Circle of Robert Byng British, (1666-1720) Girl with Orange Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inc...

Portrait of Woman is an original drawing in Charcoal and china on paper by François Chapuis in the 1970s Sheet dimension: 55 x 39 cm The state of preservation is good except for so...

An expressionist portrait of a seated figure, acrylic on paper by French artist Alain Caucat. Signed bottom right. Also signed and dated to the back of the framing board. Presented u...

The sitter is Mary Charlotte Anne Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...