Portrait Paintings

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense 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...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense 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...

After Athena was born fully armed from Zeus' forehead, Triton, acting as a foster parent to the goddess, raised her alongside his daughter, Pallas. The sea god taught both girls the ...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Portrait of a Man with a Hat holding a Pipe French School, signed and dated 1903 oil on canvas, unframed canvas: 21.75 x 18 inches provenance: private collection, France condition: s...

Johann Ludwig Robert von Steiger (Swiss, * 8th of January, 1856, Rio de Janeiro, Brazil; † 1st of June, 1941, Buenos Aires, Argentina) Portrait of Karl Alfred Arthur von Steiger Lie...

Austrian School, 18th Century A Portrait of a Gentleman, thought to be Moses Diego Lopez Pereira, 1st Baron d’Aguilar, in an elaborate coat and a powdered wig Oil on canvas Provena...

Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...

English School 18th Century Old Master Portrait Dated 1767. An intriguing painting dating to the mid 18th century bearing a label verso which is indistinct, but appears to read, “Mr...

This painting by Salvador Aulestia (Barcelona 1915 - Milano 1994) embraces the "figurative post-cubism" style. In fact Salvador Aulestia was artistically grown during the maximum su...

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

“A portrait of three children, one of them holding a basket of grapes, while another plays the flute” Oil on canvas Housed in a blackened 17th-century frame. We'd like to thank dr...

Oil on panel Signed and dated lower left. Quiringh van Brekelenkam was a Dutch genre painter, who studied under Gerard Dou. As a result, his paintings from the 1640s and 50s are si...

PROVENANCE Presumably commissioned by the sitter’s father-in-law, John Carteret, 2nd Earl Granville, Haynes Park, Thence by descent, Lady Louisa Carteret , who married Thomas Thynne,...

Jean-Marcel POUSSARD (1891-1972) Portrait of a woman in hunting attire in front of a vine H. 80 cm; L. 53 cm Oil on canvas Signed and dated lower right - 1932 Painter of portraits a...

Controversial hero in Scandinavia-Ole close your eyes. The image of the Sandman can have both a positive connotation , he is a kind creature who calms naughty children and brings goo...

Olga Cairols is a Spanish artist with more than 35 years of career. Olga studied Art History and Fine Arts at the University of Barcelona. She has a bachelors degree in Design, Art ...

Olga Cairols is a Spanish artist with more than 35 years of career. Olga studied Art History and Fine Arts at the University of Barcelona. She has a bachelors degree in Design, Art ...

Between the Wars Portrait Oil Painting Bust Portrait of a Gentleman circa 1920 – 1940 Signed S. Sassoon Oil on Canvas. Image size 20.9 inches x 17.3 inches ( 53cm x 44cm ). Frame siz...

The Band by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 18.5 x 13 inches provenance: artists estate, France condition: very good and sound condition

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Hand carved gilt frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece with a fl...

In Japanese culture, magical creatures Bakeneko are supernatural cat yokai known for their shapeshifting abilities, being able to transform into normal cats or even humans.

Justus Sustermans was first recorded working for the Medici in Florence in October 1621. He then worked continuously for the Grand Dukes until his death 60 years later in 1681. Suste...

Painting, oil on canvas, measuring 92 x 75 cm without frame and 102 x 87 cm with frame depicting a nobleman of the French school of the first half of the 18th century. In its formal...

Painting oil on canvas measuring 92 x 75 cm without frame and 102 x 87 cm with frame depicting a rich lady of the French school of the first half of the 18th century. In its formal ...

Portrait of a Country Lady English School, mid 19th century oil on canvas, unframed canvas : 21.5 x 25.5 inches provenance: private collection condition: basic good condition but ver...

Painting, oil on canvas, measuring 92 x 77 without frame and 107 x 82 cm with frame , depicting a Saint Jerome in ancient philosopher and ascetic version, typical of the greatest tra...

The Pilgrim and Angel Spanish School, 17th Century oil on canvas, gilt framed framed: 48 x 37 inches canvas: 43 x 32 inches provenance: private collection, Barcelona, Spain condition...

Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR

Portrait of a Country Squire English School, mid 19th century oil on canvas, unframed canvas : 26 x 21.5 inches provenance: private collection, UK condition: basic good condition tho...

A late 17th/early 18th century Flemish painting measuring 90 x 70 cm without frame and 100 x 80 cm with a contemporary frame. An important characteristic of this painting is its str...

Acrylic on panel, 56cm x 61cm, (67cm x 77cm framed) Born in Newport, south Wales, in 1951, the early part of his career was as a choreographer and stage director. Turning away from ...

Antique oil portrait from the early 1800's of a child in a black feather hat on a stretched canvas, framed, unsigned. This is a truly exceptional oil painting of a child, it reminds ...

Konstantin Yegorovich Makovsky (Russian 1839 – 1915) was an influential Russian painter At the World's Fair of 1889 in Paris, he received the Large Gold Medal for his paintings Deat...

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 ...

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

Portrait of a Country Lady Dutch Impressionist, late 19th century oil on wood - looks like a cigar box lid? framed framed: 11 x 8.5 inches board: 8.5 x 6 inches provenance: private c...

original painting of "Man with an umbrella" by Sean Durkin. Sean uses very toned colours but draws attention to his bag and trousers, as well as uses white tones in his socks and shi...

Portrait of an Aristocratic Gentleman British artist, first half 18th century oil on canvas, unframed canvas: 50 x 40 inches provenance: private collection, Dorset, England condition...

Portrait of a Lady (female saint?) Italian School, 17th century oil on copper, framed frame: 9 x 8 inches board: 5 x 4 inches provenance: private collection condition: very good and ...

ENOCH SEEMAN (circle of) PORTRAIT OF SIR FRANCIS SEYMOUR AS A BOY A very fine 18th century portrait of Sir Francis Seymour as a boy,oil on canvas housed in a gilt frame, circle of Enoch Seeman The size of the painting is 49 x 39.5cm (19¼ x 15½ in.) whilst overall the size is 65 cm x 56 cm The painting is in very good condition, the Canvas has been relined, and recently cleaned. Provenance: Anonymous sale, Christie's, 19 January 1945, lot 34 Anonymous sale, Crewkerne, Somerset, 24 April 2009, lot 1947 SIR FRANCIS SEYMOUR Francis Seymour, 1st Baron Seymour of Trowbridge (c. 1590 – 12 July 1664), of Marlborough Castle and Savernake Park in Wiltshire, was an English politician who sat in the House of Commons at various times between 1621 and 1641 when he was raised to the peerage as Baron Seymour of Trowbridge. He supported the Royalist cause during the English Civil War. In June 1611 he was accused of abetting the escape of his brother William Seymour and his wife Arabella Stuart, but protested his innocence. He was knighted by King James I at Royston on 23 October 1613. In 1612 was settled on him by his grandfather the manor of "Puriton with Downend" in Somerset, formerly one of the many possessions of his great-grandfather the 1st Duke of Somerset. In June 1642, Seymour signed the declaration that the king had no intention of war. He followed the King to York, offering to raise twenty horse in his cause, and Parliament accordingly declared him a delinquent. In autumn 1642 he went with his brother, the Marquis of Hertford, into the Westcountry to organise the royalist forces and suppress the parliamentary militia. He crossed the Bristol Channel...

Portrait of a Seated Lady English School, mid 19th century oil on canvas, unframed canvas: 16 x 13 inches provenance: private collection, England condition: good and sound condition

Portrait of a Man in a Hat French/ German School, late 19th century indistinctly inscribed verso, dated 1888 oil on canvas, unframed canvas: 14 x 11.5 inches provenance: private coll...

Edition 5 A bust in Street art style JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fine Br...

The Trial of Christ Dutch Old Master, 17th century oil on panel, unframed panel: 11 x 7.5 inches provenance: private collection, England, Christies auction stencil marks verso condi...

Peter Engels' "Pablo Picasso" is a compelling acrylic on canvas that serves as a profound homage to the creative genius of Picasso. The monochrome palette chosen by Engels is strikin...

Antique oil on canvas painting of a little girl with a dog signed "A.Lemoine" (1809-1839)with coeval frame. The scene takes place in the foreground with the presence of the little ...

"Zeus and Ganymede", oil and silver leaf on canvas, 39x39in / 100x100cm Inspired by the legend of Zeus and Ganymede. Shipped as it is, stretched, directly from the artist's studio.

The English Gentleman and his Country House English artist, circa 1800-1820 period Fine Georgian period portrait of a young English gentleman, seated with distant view of his country...

Portrait of a French Gentleman, circa 1800's French artist, Empire period oil on canvas, unframed canvas: 29.5 x 25 inches provenance: private collection, France condition: a few min...

The Victorian Gentleman English artist, circa 1870's period oil on canvas, framed framed: 27 x 21 inches canvas: 18 x 14 inches provenance: private collection, England condition: ove...

Portrait of a Victorian Lady English artist, circa 1870's period oil on canvas, framed framed: 27 x 21 inches canvas: 18 x 14 inches provenance: private collection, UK condition: ove...

This stunning Italian Baroque Old Master portrait oil painting is attributed to the circle of Guercino, Giovanni Francesco Barbieri (1591 - 1666) and it is ascribed verso. The paint...

The English Vicar early/ mid Victorian English artist, circa 1850's oil on canvas, unframed canvas: 14.5 x 12 inches provenance: private collection, England condition: overall good a...

Peter Ross. English (b.1941) The Young Richard Burton and his father. Welsh Coal Mining Community. Oil on Board. Signed. Image size 24 inches x 24 inches ( 61cm x 61cm ). Frame size 25.2inches x 25.2inches (64cm x 64cm ). Available for sale; this original painting is by Peter Ross and dates from 2013. The painting is presented and supplied in a contrasting contemporary floating frame (which is shown in these photographs). This painting is in superb condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower left. Peter Ross is a Welsh artist living in England and currently producing paintings about his childhood in South Wales in the 1950’s and 60’s. Peter was born in Llanfrechfa, South Wales in 1941. He grew up in Newport and studied at Newport Art College from 1958-62 and then at Bristol Art College from 1962-63. For most of his working life he worked as an art teacher in secondary schools and before retiring in 2007, as an art technician. He now teaches life drawing to adults and exhibits his work in galleries in England and Wales. Since his time as an art student Peter has continued to paint for himself. He has always chosen themes which appealed to him at specific times such as conflict, journeys, faces and cultural/literary figures. Each phase of interest and painting usually lasting one to two years and resulting in an exhibition before starting on the next subject of interest. Peter’s work has been mostly narrative-based or representational, with one abstract phase immediately after leaving art college. In recent years his interest has returned to his childhood and his memories of Newport, South Wales. These paintings are based on family and archive photographs, memories, research and other influences like Dylan Thomas. Peter has had numerous one person and joint shows. His has also taken part in the Royal Academy Summer Show, The Arts Council of Wales, South Wales Group and Welsh Artist of the Year Show 2008. He has recently exhibited at the Riverfront Gallery in Newport, the Ardent Gallery, Brecon and the Nick Holly...

Oil on canvas Image size: 17 x 21 inches (43 x 53 cm) 18th Century Carlotta frame Provenance Private Country Estate England When depicting John the Baptist artists often added an o...

French school of the second half of the 19th century, follower of Oudry Blue macaw perched on a branch Oil on canvas 73 x 60 cm