18th Century and Earlier Portrait Paintings

Portrait Of Czechoslovakian Theologian Jan Hus (1370-1415), 17th Century European School 17th Century European School portrait of Czech Theologian Jan Hus, oil on panel. Excellent...

Portrait Of A Spanish Marquess, 18th Century attributed to Louis-Michel VAN LOO (1707-1771) Large 18th European portrait of a Spanish Marquees / Noble at a bureaux signing a docum...

Juan Alfonso Abril (active in the 17th century in Valladolid) Head of Saint Paul Oil on canvas, cm. 48,5 x 62 - with frame cm. 63 x 76,5 Shaped wooden f...

PPortrait Of Barbara Villiers (1640–1709), Countess of Castlemaine and Duchess of Cleveland Circle of Sir Peter Lely (1618-1680) Huge 17th Cent...

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

Vittore Ghislandi, called Fra Galgario Provenance: Robert L. and Bertina Suida Manning, New York, ca. 1966-1996 Private Collection, USA Exhibited: “Eighteenth Century European Pai...

Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...

The pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 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...

This charming 17th Century half length portrait by Charles Jervas is believed to be of Henrietta Pelham–Holes, Duchess of Newcastle. The sitter is wearing a blue silk gown. Circa 1700 Oil on Canvas 27 x 19 1/2 inches 68.5 x 49.5 cm In a fine gilded carved wood frame. ABOUT THE SUBJECT: The sitter of svelte poise depicts grace and style. Stylistically taking the fancy of the moment with clearness and brilliancy in his flesh tints. Jervas work follows the English eighteen century tradition of portrait painting, epitomized by the likes of Kneller and Dahl. Henrietta "Harriet" Pelham-Holles, Duchess of Newcastle upon Tyne, was the wife of British statesman and prime minister Thomas Pelham-Holles, 1st Duke of Newcastle. She was the daughter of Francis Godolphin, 2nd Earl of Godolphin, and Henrietta Churchill, 2nd Duchess of Marlborough. She was also the granddaughter of Sidney Godolphin, 1st Earl of Godolphin, as well as John Churchill, 1st Duke of Marlborough, and Sarah Churchill...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

During the Counter-Reformation, the traditional cult of saints was encouraged, and spiritual exercises were recommended to come closer to God. In the pai...

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

Bartolomeo Passerotti ( Bologna 1529 – 3 giugno 1592) Ritratto di Gentiluomo con cane Olio su tavola, Sec. XVI, cm 84x69; con cornice 101x87 // Bartolomeo Passerotti (Bologna 1529...

Circle of Mary Beale 1633 - 1699 Portrait of a Gentleman Oil on canvas Image size: 30 x 25 inches Contemporary gilt frame Mary Beale was the daughter of a Suffolk clergyman.She married Charles Beale...

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...

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, Nottinghamshire, England; by descent to Sir Andrew Buchanan of Hodsock Priory, Nottinghamshire In 1635 John Mellish, a merchant tailor of London, bought the estate of Blyth in Nottinghamshire. His son, a wealthy Oporto merchant, dying unmarried, left Blyth in 1703 to a cousin, Joseph Mellish, who became one of Newcastle’s earliest and most important political supporters in the county. He went up to Clare College, Cambridge in 1692 and on to the Inner Temple the following year. He married Dorothea Gore, daughter of Sir William Gore...

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 British 18th century British Old Master portrait oil painting is by noted artist Joseph Highmore. Painted circa 1740 it is a half length portrait of a young woman, Eli...

Provenance The Sitter (Probably commissioned for the marriage of Samuel Edwin and Lady Catherine Montagu in 1697), Thence by descent, Charles Edwin (c. 1670 - 1716), Llanmihangel Pl...

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...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

This exquisite portrait, presented by Titan Fine Art, was painted in the era of London’s Great Fire - a young woman has been depicted wearing the most luxurious attire and a fortune ...

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...

Follower of Enoch Seeman the Younger German, (1694-1744) Portrait of Gilbert Sympkin Oil on canvas Image size: 29.25 inches x 24.5 inches Size including frame: 38 inches x 33.25 inches A fine three quarter length portrait of a gentleman traditionally identified as Gilbert Simpkin (Sympkin), follower of Enoch Seeman the younger, C1720. The portrait is set in a feigned sculptured oval cartouche, a device used to give a sense of depth. The sitter is depicted wearing a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed holding his hat under his left arm with the fingers of his right hand stretched out. At court, long fingers signified wealth, culture and intelligence. The painting has clearly been executed by an artist of great ability who has been influenced by Enoch Seeman the younger. Gilbert Simpkin (Sympkin) was born in London on 24 August 1683, the son of John Simpkin and Susannah Butler. His grandfather was also called Gilbert Simpkin. He entered Oxford University in 1700 where he studied at St John’s College. In 1702, he became a student of Middle Temple, which at the time was one of the world’s most important centres of legal education. He later settled in Plymouth and then Bristol. He died in Bristol on 15 May, 1744 and was buried at Bristol Cathedral. He remained unmarried and the portrait may well have been commissioned to commemorate when he was first Called to the Bar or perhaps had established his own practice. Enoch Seeman or Seemann the younger was born in Danzig, Germany now Gdansk, Poland in 1694. His father was Enoch Seeman Senior, an artist of Flemish origin and his brothers Isaac, Noah and Abraham also became artists. He came to London with his father and brothers around 1704 and established himself as a portrait artist. From 1717 he became painter to the Royal court painting...

A fine, imposing 18th century portrait of an unknown aristocrat,housed in a gilt frame The artist is also unidentified but certainly a talented hand, in the circle of one of the fine old masters of the period The size overall is 148 x 121 cm whilst the painting is 128 x 101 cm In overall good condition the frame at the bottom has bowed slightly The painting has been checked whilst being cleaned and has not been affected in any way . SHIPPING Free delivery to mainland uk ,worldwide shipping available please email for quote Delivery usually within 14 working days, insured please provide telephone/email details for courier. All taxes/customs etc to be paid for by purchaser. RETURNS (The Consumer Contracts Regulations) Whilst we are sure that you will be extremely happy with your purchase, if for any reason you are not, then you are entitled to return the item to us for a refund. For all purchases made you are entitled to return the item(s) for a period of up to 14 days following receipt by you or a representative indicated by you. Please contact us to confirm that you are returning the item(s) and the reason for doing so. Upon receipt of the item(s) we will refund the purchase price via your original payment method...

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...

Work on wood Molded frame in plaster and gilded wood 65 x 57 x 8 cm

Provenance: Private Collection, New York, until 2022. Martín de Porres was born in Lima in 1579, the illegitimate son of a Spanish-American father, J...

Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...

This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

The Penitent Magdalene French School, 18th century oil painting on canvas, framed canvas: 30.5 x 25 inches framed: 39 x 33 inches condition: exc...

Study for a Man, perhaps Italian School , Follower of Caracci. Old Master Painting. In a Golden Frame, 52 x 46 cm.

Portrait of Lady Anne Howard (nee Montagu) Countess Of Suffolk (1660-1720), 18th Century follower of Sir Peter LELY Large 18th Century English portrait of...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

Scuola Fiorentina Santa Maria d'Antiochia olio su tela Secolo XVIII cm 85,5X63,3; con cornice cm 105X64X7.

We are grateful to Prof. Daniele Sanguineti for suggesting the attribution to Domenico Parodi (1672 - 1742). He dates the painting into the period between 1730 and 1740. Domenico Par...

This work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...

This magnificent grand-scale work, offered by Titan Fine Art, formed part of a collection of family pictures and heirlooms of the Rivers Baronets and their descendants for over 325 years, before it was dispersed by the last in the line in 1988. The work was painted by the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. It is no surprise that for years Lely had no serious rivals, was enormously influential and successful, and one of the country’s most important painters – and his work influenced countless artists over generations. The exquisite carved and gilded auricular frame is an astounding work of art in itself. The sitters in this exquisite double portrait are Sir John Rivers, who succeeded as the 3rd Baronet Chafford in 1657 (c.1638 - c. 1679), and his wife, Lady Anne Hewitt (c.1640-c.1689). They are seated in an outdoor setting beside a fountain modelled as a female figure with water issuing into a scallop-shell. The water, the elaborate sculpted fountain with its scallop-edged bowl, and the open shell in her hand are symbols of fertility - as such they make an appropriate allusion to Lady Anne’s potential as wife and mother, recalling Proverbs, chapter 5, verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. This reference was realised, as Sir John and Lady Anne produced at least six children; their son George (1665-1734) became 4th Baronet of Chafford. The composition, thus, represents a celebration of marriage and was likely commissioned around the time of the betrothal (the marriage took place 26th Feb 1662 or 1663). The statues in the left margin are 'Youth and 'Old Age' and are a typical form of Memento Mori reminding virile young man that even they will lose their youth and grow old. The Rivers family, originally of Kent, traces its history to Sir Bartholomew Rivers, in the reign of Edward IV. The family included several prominent members including several knights, a Commander in the King's Army, a steward of a ducal estate, a Lord-Mayor of London, and an M.P. John Rivers (c.1659-c.1651) was made 1st Baronet of Chafford in 1622 by King James I. The Chafford estate was the family seat and it remained so until the early 1700s with the death of Sir George Rivers, 4th Baronet (1665–1734), whose sons had all died. The Chafford estate was left to his daughters while the baronetcy passed to nephew John Rivers, 5th Baronet (c. 1718–1743), and then Sir John’s brother, Sir Peter Rivers-Gay, 6th Baronet (c. 1721–1790). Upon Sir Peter Rivers Gay's death the estate passed to his eldest son, Sir Thomas Rivers Gay, 7th Baronet (c. 1770–1805). Sir Thomas, dying in 1805 with no children, bequeathed the estate to his mother Dame Martha Rivers Gay, who managed the estate until 1834 when she settled it on the then Sir Henry Rivers, 9th Baronet (c. 1779–1851) her younger son, before dying shortly thereafter in 1835. Sir Henry had married in 1812 to Charlotte Eales, with whom he had 6 sons and 8 daughters. Upon his death in 1851 the estate passed to his eldest surviving son Sir James Francis Rivers, 10th Baronet (1822–1869). Sir James married Catherine Eastcott in 1867 but died childless in 1869, and the estate passed to his only surviving brother Sir Henry Chandos Rivers, 11th Baronet (1834–1870) but he died a year later in 1870 also childless; with no male heir the Baronetcy was therefore extinguished. The estate was bequeathed, in trust, by Sir Henry Chandos Rivers to Thomas Frederick Inman, a solicitor of Bath, who then managed the estate as a trustee on behalf of Sir Henry Chandos Rivers' sister Katherine Rivers (c.1826-1895). It then passed to Katherine River’s daughter, Katherine Wall (born c.1855), who had also inherited Worthy Park House from her father, George Alfred Ellis Wall (1825-1875). Until 1958 our portrait is known to have hung at Worthy Park House. Upon Katherine Wall’s death, the Rivers estate passed to her daughter, Katherine Eleonora Rivers Fryer (1889-1963), who married Colonel James Alexander Butchart 1877-1853. In 1958 the family sold Worthy Park House but our portrait was loaned to Southampton Museum and Art Gallery. After the death of Katherine and Colonel James, the estate was left to their only son, Charles Bruce Rivers Butchart (1917-2005) and upon Charles’ retirement to a nursing home in 1988, and without heirs, our portrait, along with the residual assets of the Rivers estate were sold, thus ending over 325 years of continual family ownership. Lady Anne Rivers is thought to have been born circa 1640. She was the fourth child of the second marriage of Sir Thomas Hewitt (or Hewett) (1606-1662), 1st Baronet of Pishobury, Herts, and his wife Margaret Lytton (died 1689). Sir Thomas was an English landowner and M.P. for Windsor and upon the English Restoration...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...

Artist: Unknown (Circle of David Teniers the Younger, Flemish, 1610-1690) Title: "Man in Tavern Smoking a Pipe" *No signature found Circa: 1690 Medium: Original Oil Painting on Wooden Board Framing: Framed in an antique gold gesso frame...

The son of Cosimo II and his wife, Maria Maddalena of Austria, Ferdinando II was born in Florence on 14 July 1610. His father's early death in 1621 marked the start of a long regency...

The panel has been attributed both to Joan de Joanes and his son Vicente Macip Comes (Valencia, ca. 1555 – 1623). Provenance: Private Collection, England, by 1886 (according to stencils on the reverse) Private Collection, New Jersey, until 2010 The Veil of Veronica, often called the Sudarium, is one of the most important and well-known relics of Christ. According to legend, Veronica offered Christ her veil as he carried the cross to his crucifixion. He wiped his face with the veil, which left the cloth miraculously imprinted with his image. Depictions of Christ’s face on a veil, or simply images that focused in on Christ’s face, were treasured objects of religious devotion. The popularity of this format also inspired similar images of the face of the Virgin. The iconographic type of the present painting is known as the Veronica of the Virgin, which was especially favored in late medieval and early Renaissance Spain. Distinct from the images of the suffering Christ, the Veronica of the Virgin is based on the legend that Saint Luke painted a portrait of Mary from life. Although scholars have sometimes mistaken them for portraits of Queen Isabella I of Castile (known as Isabel la Católica) or as a depiction of Saint Maria Toribia (known as María de la Cabeza, or, Mary of the Head), paintings like this one were clearly intended as images of the Virgin in the style of Saint Luke’s lost portrait. The Veronica of the Virgin was especially popular in Valencia, and depictions of this subject produced there all stem back to one visual prototype: a Byzantine image in the city’s cathedral (Fig. 1). This early treatment of the Veronica was given to the cathedral in 1437 by Martin the Humane, King of Aragon and Valencia, who promoted religious veneration of the Veronica of the Virgin as part of the celebration of the Immaculate Conception of Mary. This devotion spread throughout Martin’s kingdom and particularly took hold in Valencia, where the Byzantine image resided. The image, which is displayed in a gold reliquary...

Madonna of the Harpies, 17th Century follower ANDREA DEL SARTO (1486-1530) Huge circa 17th century Italian Old Master of the Madonna Of The Harpies...

After Jean-Baptiste Van Loo, A Portrait of King Louis XV of France (1710-1774) A magnificent quality three-quarter length portrait of King Louis XV of France and Navarre, painted in the 18th century after Jean-Baptiste Van Loo. Oil on canvas, in the original carved and gilt wood frame. Canvas: 40" high x 32" wide Frame: 46.5" high x 39" wide Very good condition, ready to hang. No damages noted. The present composition follows a portrait of Louis XV painted by Jean-Baptiste Van Loo in 1726-1727, today in Versailles. (Oil on canvas. 198.5 by 143 cm. Inv. no. MV 6942.) There were several full-length portraits painted by Van Loo of the young Louis XV, and all were executed in the years of or after his majority, 1723, when he took full control of government, wresting power from the Régent, his great-uncle Philippe, Duc d'Orléans. A slightly larger version (205 by 171 cm), in which the pose and surrounding paraphernalia mirrors that of the present work, is in the Château de Versailles, while another, in which Louis stands more front-on, his pointing right index-finger now tucked in, and with a different background arrangement, is also in Versailles. Further versions of this latter are in Nice, Musée Chéret and the Musée de Perpignan. The composition of all of these full-lengths would appear to derive from Van Loo's large equestrian portrait of Louis XV, painted in collaboration with Charles Parrocel, which was commissioned in 1723 by the Surintendance for Charles de Lorraine. Louis is depicted in similar armour and costume, astride his horse, similarly turned three-quarters to the left and his right arm outstretched. Most subsequent depictions of Louis followed this original design, including, for example, Carle Van...

Artist/ School: Italian School, 17th century Title: Two figures in an interior, one holding an urn or jug. Possibly a Biblical narrative subject. Medium: oil painting on canvas, u...

Work on canvas Empire plaster frame and gilded wood 42 x 38 x 5 cm

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

Christian Schildbach was a very talented artist with his own style. Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...

Portrait Of Gilbert Talbot 7th Earl of Shrewsbury (1552-1616), 16th Century Circle of George Gower (c.1540–1596) Huge 16th Century Portrait Of Gil...

ABOUT THE SUBJECT: In this 18th Century portrait Katherine Read has portrayed Daniel Giles as a child sitting on a rug playing with his drum and his hat beside him. The detail of the ornaments such as the patterned carpet, the folds of the curtain and the child's velvet clothing...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

Not only in the 17th century, but also in the 18th century, genre painting, where people are portrayed in their daily life, was successful. The theme of the milkmaid, which we all kn...

Circle of Michael Dahl Swedish, (1659-1743) Portrait of a Lady Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inches A fine half-length portra...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...