Michiel Jansz. Van Mierevelt (Follower), Portrait of Maurice of Orange

c. 1640

This mid-18th-century half-length German portrait depicts a middle-aged aristocrat wearing armour and a wig. Despite his heavily-clad appearance, it’s likely that this rather noncha...

This mid-17th-century bust-length Flemish school portrait depicts the Dutch Catholic bishop Cornelius Janssen (1585-1638). Painted when into his later years, this intriguing historic...

This charming mid-19th-century oil painting attributed to English artist Edward John Cobbett (1815-1899) depicts a seated girl carrying a wicker basket within rolling scenery. Cobbett was a skilled English painter of landscapes and genre who exhibited regularly at London’s Royal Academy. This piece from around 1860 is emblematic of his rose-tinted escapism and celebrates the honest endeavours of rural life. The details are rendered skilfully, particularly the hands, skin tones and head. While the composition, with the horizon line crossing just beneath the shoulders, creates interest and permanence. He fathered twelve children, including eight daughters, so it’s plausible that some of them appeared in his portraits. The girl bears some resemblance to his depiction of ‘The Crofter's Daughter’. Born in Westminster, London, Cobbett was initially trained as a wood carver, probably by his father, who was a skilled ‘carver and gilder’. Evidently, the young man adopted the trade with considerable vigour, as some of his early carvings can be seen at York Minster. Around the age of 20, he began to pursue a career as an artist, and it's presumably at this point that he undertook formal tuition with the landscape painter Joseph William Allen (1803-1852). Allen was a founding member of the Society of British Artists, and his influence is evident. Following his 1833 debut at London’s Royal Academy, he matured into an artist of considerable merit, particularly popular among the rising middle classes. He was known by the Victorian press as one of the last great ‘bohemians’, thus associating him with a social and cultural milieu of freedom-loving, anti-establishment creatives. As a member of London’s Savage Club, his circle was a most intriguing one and included writers, artists, and musicians who sought to live on the fringes of society. This liberal sense of ‘joie de vivre’ translated through his work into depictions of ebullient country folk undertaking wholesome daily activities. Via his numerous rustic characters, he celebrated a simpler, albeit idealised, working-class utopia. The urban-dwelling bourgeois lapped it up, escaping into the abundance of an imagined moor, and vanishing into a community unplagued by formal rigour. Aside from the Royal Academy, his works were also shown at the British Institution, Liverpool Academy, and the Society of British Artists, where he was elected a member in 1856. He’s known to have collaborated with both William Shayer (1787-1879) and George Cole (1810-1883). He’s represented in numerous public collections, including at Glasgow Museum, the Walker Art Gallery, Worcester City Art Gallery, and York Art Gallery. Provenance: Private collection, UK. Artist’s auction maximum: £20,052 for ‘Rural Idyll (1859)’, Oil on canvas, De Veres...

This exceedingly charming mid-18th-century English oil painting depicts a girl wearing a red gown with a train over a white petticoat. She’s holding a posy or nosegay. Evidently once commissioned for an English country house, the identity of this young lady remains a mystery. Her gown appears to be inspired by the popular ‘robe à la française...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is a copy oil painting on wood panel, after Italian artist Giampietrino (Giovanni Pietro Riz...

A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...

Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from the late Renaissance period. Spanish school. Size: Cm 19 x Cm 13.5 Oil on wooden panel. On the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment. About 1600-1610. As often in Mannerist / Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here: DON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?) (1534, Autillo de Campos, Spain - 1601, Córdoba) Francisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba. He was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid. Francisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination toward religion and piety from an early age. He studied Latin, arts, and theology at the University of Salamanca. In 1562, he traveled to Rome with his brothers Pedro and Luis. In January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary. After Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuel was a canon. He supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books. During the brief outbreak of the Black Plague...