(Circle of) Godfrey Kneller

Portrait of a Lady in a Pink Dress and Green Wrap c.1695, Antique Oil Painting

circa 1695

These beautiful portraits were painted circa 1725 and are fine examples of the English eighteenth century portrait style. One sitter has been depicted wearing a simple blue silk dress and the other wears a red silk dress and a silk drapery in her hair. The artist utilised a restrained manner and chose to depict the subjects without jewellery or artificial adornments, and against plain backgrounds. Instead, the viewer can focus solely on the beauty of the sitters and the considerable talent of the artist. The effect achieved is of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture. Contained within fine gilded antique frames. Jonathan Richardson...

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 compo...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

This spectacular large portrait, presented by Titan Fine Art, was painted in 1714 when the artist was at the height of his artistic power. It is signed and dated by Schmutz (R. Schmutz p. 1714) and is an extremely rare and important addition to the little-known oeuvre of the artist, and further still, a wider knowledge of the artists that were active at the turn of the 18th century in England. The fact that there are successful engravings after portraits by Schmutz, such as the half-length portrait of the Comedian William Penkethman, created in 1709 further enhances the fact that he was an artist painting celebrated depictions of significant sitters. The discovery of this work may now lead to further research into Schmutz’s oeuvre. Meticulously rendered, the sitter is wearing a pink dress, holding a basket of fruit, whilst a parrot rests in her left hand. The beautiful arrangement of flowers in the urn was likely painted by another artist who specialised in floral painting – collaborations such as this were common. The painting abounds with ingenious flourishes and demonstrations of the painter's skill and superior pictorial technique. The graceful pose, sumptuous costume, rich colour, and brilliant technique are distinctive features of this portrait and it was a type that was in great demand during the 18th century, as it is today. Johann Rudolf Schmutz was born in Regensperg, Switzerland in 1670 and trained under the artist Mathais Füssli. At first Schmutz focused his training on historical paintings however quickly seeing that he was better at portraiture, which was also more profitable, he focused his study on this genre. Schmutz had heard of the success Sir Godfrey Kneller (1646 – 1723) was having in London and therefore left Switzerland to try and rival Kneller’s society portraits in Britain. Although few works are known by Schmutz, he was said to have been a success, and perhaps if he had lived longer, he may have been able to rival some of the great Court artists. His focus was on female portraiture, which is epitomised in this example, showing an elegant reclining female figure. By the turn of the century, this format of portraiture had become popular and similar examples can be seen by the artists Maria Verelst and Michael Dahl, often repeating the composition. By Schmutz’s death in 1715, he had a studio practice in Covent Garden where he was training the young John Ellys (1701 – 57), who went on to succeed Philip Mercier as the principal painter to Frederick, Prince of Wales. In comparing this portrait with the work of Ellys it is clear to see the inspiration taken, with similar compositional format and flesh tones. Held in an impressive Kent style carved and gilded antique frame with egg and dart motif. Provenance: Property of Beatrice Nellie Gillison Stayner (1912-1988) of The Grange...

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...

Titan Fine Art present this graceful portrait that depicts a young lady elegantly dressed in a shimmering blue silk dress with gold edging, sleeves that have been gathered and tied in place with a large jewelled brooch, and a pink wrap. It is a striking example of portraiture from France’s Golden Age. The 17th century in France saw the creation of the Royal Academy of Painting and Sculpture, an institution that was to dominate artistic production for nearly 200 years. Founded in 1648 the Royal Academy was intended to professionalise artists working for the French court. Some 35 years later, the organization reached its full glory under the leadership of the history painter Charles Le Brun (1619-1690), who gave precedence to painters of history or mythology followed by those painting portraits, genre scenes, landscapes, animals, and lastly, still lifes. The period saw some of the greatest French artists such as Claude Lorrain, Nicolas Poussin, Georges de La Tour (1593-1652), Philippe de Champaigne, and Pierre Mignard (1612-1695). However, Nicolas de Largilliere (1656-1746) and Hyacinthe Rigaud (1659-1743) were the great portrait painters of the Grand Siècle and they created a model of portraiture that would be copied and imitated throughout Europe for more than a century. In 1682 Versailles was transformed into the extravagant royal residence, the seat of the court, and the centre of the French government for King Louis XIV. The king became the arbiter of taste and power in Europe and both his château and the etiquette in Versailles were copied by the other European courts. French pre-eminence in Europe continued into the latter half of the 18th century, particularly through the arts and sciences, and the French language was the lingua franca...

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...

Charles Jervas (1675-1739) Portrait of Joseph Mellish (1675-1733) Oil on canvas; held in a carved period frame Dimensions refer to size of frame. Provenance: Blyth Hall, Nottingh...

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...

This 36 inch square original oil painting on canvas is wired and ready to hang. The detail in this artwork is astounding. The crimson red tones make the female swimmers portrait real...

This large horizontal 37 inch high and 76 inch wide original oil painting on canvas is wired and ready to hang. The detail in this artwork is astounding. The crimson red tones make t...

This exceptional oil on canvas portrait is monogrammed lower center "CGLT" and dated 1801. Probably German and housed in a 19th century gilt wood frame. Details in the background inc...