Maud Marion Wear

Portrait of a Girl Holding Wool - British Edwardian female portrait oil painting

Circa 1905

This lovely British Edwardian portrait oil painting is by noted Liverpool artist Robert Edward Morrison. Born on the Isle of Man, Morrison moved to Liv...

This stunning circular 19th century oil painting is by noted prolific Royal Academy exhibited artist Rudolf Lehmann. A portrait artist, German born Lehmann moved to England in 1866 w...

This beautiful Victorian pencil drawing dates to around 1890 and is by an unknown hand. It is a head and shoulders portrait of a young lady gazing to her right. Her dark hair is tied...

This stunning 17th century Old Master portrait oil painting is attributed to Godfrey Kneller. Painted circa 1680 it is a superb full length portrait of a blonde haired boy holding a struggling bird. He is bare foot and dressed in a white shirt with gold shawl around him. In the background is a blue drape. There is lovely detail and brushwork in his facial features and vibrant colouring. This a superb 17th century Old Master oil painting housed in a lovely frame. Provenance. Two ascribed labels verso Christie's stamp verso. . Condition. Oil on canvas in good condition, 36 inches by 28 inches approx. Frame. Housed in an ornate frame, 43 inches by 35 inches approx. Sir Godfrey Kneller, 1st Baronet (born Gottfried Kniller; 8 August 1646 – 19 October 1723), was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George I. Kneller was born Gottfried Kniller in the Free City of Lübeck, the son of Zacharias Kniller, a portrait painter. Kneller studied in Leiden, but became a pupil of Ferdinand Bol and Rembrandt Harmenszoon van Rijn in Amsterdam. He then travelled with his brother John Zacharias Kneller, who was an ornamental painter, to Rome and Venice in the early 1670s, painting historical subjects and portraits in the studio of Carlo Maratti, and later moved to Hamburg. The brothers came to England in 1676, and won the patronage of the Duke of Monmouth. He was introduced to, and painted a portrait of, Charles II. In England, Kneller concentrated almost entirely on portraiture. In the spirit of enterprise, he founded a studio which churned out portraits on an almost industrial scale, relying on a brief sketch of the face with details added to a formulaic model, aided by the fashion for gentlemen to wear full wigs. His portraits set a pattern that was followed until William Hogarth and Joshua Reynolds. Nevertheless, he established himself as a leading portrait artist in England. When Sir Peter Lely died in 1680, Kneller was appointed Principal Painter in Ordinary to the Crown by Charles II. For about 20 years (c.1682-1702) he lived at No. 16-17 The Great Piazza, Covent Garden. In the 1690s, Kneller painted the Hampton Court Beauties depicting the most glamorous ladies-in-waiting of the Royal Court for which he received his knighthood from William III. He produced a series of "Kit-cat" portraits of 48 leading politicians and men of letters, members of the Kit-Cat Club. Created a baronet by King George I on 24 May 1715, he was also head of the Kneller Academy of Painting and Drawing 1711–1716 in Great Queen Street, London, which counted such artists as Thomas Gibson amongst its founding directors. His paintings were praised by Whig members including John Dryden, Joseph Addison, Richard Steele, and Alexander Pope. On the landing in Horsham Museum hang works of art from the Museum's extensive painting collection, featuring a large 18th-century portrait of Charles Eversfield and his wife, of Denne Park House. In the painting Eversfield is giving his wife some violets which signifies fidelity, love and honesty. It is likely that the picture was cut down at some time as it was unusual to stop just below the knee. It may have been painted by more than one person: someone who specialised in clothing, another in drapes, and so on, with perhaps Kneller painting the heads, for it was the portraits that gave the sitters their identity, everything else is rather formulaic. He married a widow, Susanna Grave, on 23 January 1704 at St Bride...

This superb British 19th century equine oil painting is by noted horse lover, George Gascoyne. Painted in 1889, this French born chestnut horse is Phoenix. While he was essentially a...

This stunning much exhibited 1920's Scottish portrait oil painting is by noted Glasgow Girl artist Norah Nielson Gray. Painted circa 1923, the model for the painting was Rita McIlraith but the artist did not want to use her name in the title and it was called 'Exotic.' Norah Neilson Gray...

Babies are falling from the sky and not bombs. British female artist and illustrator Noel Laura Nisbet makes a passionate twist to the reality of En...

‘Guinevere’ by Norman Prescott-Davies R.B.A, R.C.A. (1861-1915). The painting – which depicts an English mediaeval portrait of Queen Guinevere at Amesbury Priory contemplating her lo...

Louisa Starr 1845 - 1909 Portrait of a Young Woman Oil on canvas, monogrammed Image size: 8 ½ x 6 ¼ inches (22 x 16 cm) Pre-Raphaelite style frame Provenance Family Estate Christies Private Estate This rare beautiful portrait is clearly influenced by the Pre-Raphaelites, who were friends of Louisa Starr. The Pre-Raphaelites often included symbolic elements in their work, and the background of ivy in this painting, symbolising everlasting life, is a reference to that. This is an early work by Starr as she uses her monogram of a letter L with a star, which can be seen bottom right. The photograph below shows the painting in her studio, top left. The Artist Louisa Starr was born in Liverpool of American descent. Starr attended Heatherley's Art School. During this period artistic training was dominated by the Royal Academy Schools, which gave students a rigorous grounding in life-drawing and painting, presided over by Frederick Leighton and staffed by some of the leading artists of the time. Competition to enter the RA schools was very great, and at sixteen Louisa Starr became the youngest student ever to attend, being one of two students selected out of thirty eight entrants. The fact that she was a woman is very significant. She signed her work 'L Starr' so that her gender was not apparent, and when her identity became known, she was told that it was not permitted by the constitution to admit female students. (Women had attended the RA Schools before but not in any great number and not for some time). When she asked to see the clause, it could not be found, and they ended up admitting six women students so that they could chaperone each other. She had an outstanding career as a student, winning a Silver medal for the best copy of Murillo's 'Beggars' in 1865 - which was the first medal ever awarded by the RA to a woman, and a Gold medal for the most successful historical painting in 1867. She met her future husband, Enrico Canziani, an Italian cousin, whilst visiting relatives in Italy. Her independent outlook and progressive thinking were somewhat at odds with traditional Italian village life, but Enrico understood and encouraged her work by setting up a studio space and helping to find local models for her to paint. He was a civil engineer, who had built a sugar refinery in Italy and established paper-mills and chemical product factories. They married in Dover in 1882, when Starr was thirty seven, and her attitude to life and work continued to be assertive and uncompromising. For example, she removed the 'obey' from the marriage service, and it was decided that she would continue to live and work in England, and Enrico would be the one to move. He settled in England, but as much of his business was in Italy he continued to visit at least three times a year. Their daughter Estella was born in 1887. She became a portrait and landscape painter, an interior decorator and a travel writer and folklorist. Estella reports that her mother dreamed of an ideal house and recognised it while driving in Kensington Gardens, seeing a board up advertising it to let. She telegraphed to her husband to come back from Paris and they secured the property just five minutes ahead of a gentleman who was also waiting for the office to open. Estella was born there two years later. The address was 3 Palace Green, Kensington. Louisa was good friends with many of the prominent artists of the day including Frederick Lord Leighton, Val Princep and his family who lived next door to Leighton as well as G F Watts...

‘Guinevere’ by Norman Prescott-Davies R.B.A, R.C.A. (1861-1915). The painting – which depicts an English mediaeval portrait of Queen Guinevere at Amesbury Priory contemplating her lo...

Up for sale is this detailed and tentative portrait of an elegant woman in a common room or 'parlor'. By a famous English Pre-Raphaelite artist. Barked Frederick Lowcock. The woman can be seen standing before beautifully decorated interior. Some of the focuses in this painting is the stained glass window, a tall marble statue of a woman, exotic palm leaves and plants, paintings, easels, and antique furniture, a . By placing the objects in their proper places, Lowcock gave the observer a better understanding of who was being depicted in his portraits. The Royal Academy (1878–1904), Suffolk Street (1880–1892), and Thomas McLean's gallery (1892) all hosted Lowcock exhibitions. A number of biographical dictionaries, notably Benezit and Wood's Dictionary of Victorian Painters, which features an image of his work, mention Lowcock as an artist. The abbreviation CF Lowcock RBA, which stands for Royal Society of British Artists, is sometimes used to refer to Charles Frederick Lowcock. Pre-Raphaelite Woman in Study Sight size 10x18.5 inches With frame 20x29 inches Oil on Panel With Gilded Frame Signed lower left Lechertier...

A wonderful painting of a beautiful woman in the style of the Pre-Raphaelites. It is signed Arnhold. It is in very condition and in the original frame. Picture Size: 21 x 21" (51 ...