18th Century and Earlier Portrait Paintings

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

Architectural Capriccio Of Ancient Rome, 17th Century school of Viviano CODAZZI (1604-1670) Huge 17th Century Italian Old Master view of an Architectural Capriccio with figures out...

18th century style, “Young aristocrat with pet dog”. The work is a modern copy of a portrait of Pierre Van Cortlandt, first lord of Van Cortlandt manor in NY. ...

Sir John Wynn, 5th Baronet Canvas Size: 50 x 40" (127 x 102cm) Outside Frame Size: 58 x 48" (147 x 122cm) Sir John Wynn, 5th Baronet (1628 – 11 January ...

Portrait Of Charles I Of England (1600-1649) Wearing The Order Of The Garter, 17th Century circle of Sir Antony VAN DYCK (1599-1641) Large 17th Century English portrait of King Cha...

Guido Reni (Bologna 1575 - 1642) Workshop of Saint Catherine of Alexandria (full details LINK) Oil on canvas Measurements (cm): 96 x 73 - with frame 112 x 88 This splendid work dep...

Antichità Castelbarco SRLS is proud to present: Claudio Ridolfi (Verona, c. 1570 - Corinaldo, 1644) Workshop/circle The Guardian Angel in Glory Oil on canvas 124 x 84 cm. - With fr...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Philippe Mercier (also spelled Philip Mercier; 1689 – 18 July 1760) born in Berlin, was an artist of French Huguenot descent from the German realm of Brandenburg-Prussia (later Kingd...

Oil on canvas Image size: 10 3/4 x 7 3/4 inches (27.25 x 19.5cm) Handmade William Kent frame This quickly created oil sketch is a study for a larger work, its purpose being to aid the artist and give the client a visual representation of the final piece. The subject is a young gentleman in a colourful pink and white outfit. He also wears a powdered wig and bears a decorative sword...

Portrait Of General George Monck, 1st Duke of Albermarle (1608-1670), 17th Century by Jacob Huysmans (1633-1696) Huge 17th Century British Old Master portrait of General Monck, 1st...

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...

English family portrait from the late 18th century. The canvas is aged accordingly with newsprint from October 1847. The painting is framed in a decorative gold frame with an open ba...

Portrait of Henry IV, King of England (1367-1413), 16th Century English School Portrait - Early Oil On Panel Large 16th Century court portrait of Henry IV, King Of England (1367-14...

Thomas Hudson 1701 – 1779 Portrait of a Lady Oil on canvas Image size: 30 x 25 inches Original carved giltwood frame Hudson had many assistants, and employed the specialist drapery ...

This is a superb Italian Old Master portrait oil painting attributed to circle of Guido Reni. It is a half length portrait of the penitent Mary Magdalene...

Italian painter (18th century) - Portrait of a gentleman with an aphorism. 92 x 68cm. Oil on canvas, unframed. - Iscribed on the book: "In the world there are more crazy men than ...

This lovely Old Master portrait oil painting is attributed to the circle of Joseph Wright of Derby. Painted circa 1780 the painting is of a boy in a tunic and wide collar. A really c...

Jacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...

Portrait Of Lady Manners, 18th Century attributed to THOMAS HUDSON (1701-1779) Large 18th Century English portrait of Lady Manners, oil on canvas attributed to Thomas Hudson. Excellent quality and condition circa mid 18th Century portrait of the young lady wearing a lace Bonney with a pink bowtie...

English painter (late 18th century) - The Connoisseur and Tired Boy. 39.5 x 32 cm without frame, 46 x 38 cm with frame. Antique oil painting on canvas,...

Portrait Of The Russell Sisters, 17th Century Studio of Michael DAHL (1659-1743) Large circa 1700 English portrait of The Russell Sisters, oil on canvas fro the studio of Michael ...

Lucas de la Haye, called Luca Fiammingo (Nivelles, 1612-Rome, 1682) Saint Cecilia and two cherubs Oil on canvas 118 x 91 cm. -Framed 129 x 102 cm. Expertise of Prof. Emilio Negro (Bologna) This evocative painting, which we are delighted to exhibit to you, has Saint Cecilia, the Roman noblewoman who later converted to Christianity and a very popular figure in the Baroque period as the patron saint of music, instrumentalists and singers, at the centre of the composition. She is depicted here as a splendid maiden dressed in regal robes...

Benjamin Herring Snr (British, 1830-1871) Saddled bay hunter 1863 Oil on canvas With old Christie's stencil verso Property of a gentleman From the collection of Peter Roe Dimension...

Follower of Pierre Gobert 18th century French The Duke and Duchess of Burgundy Oil on canvas Refinement and intricacy characterize these royal portra...

European Master (17th-18th century) - Portrait of a nobleman. 81 x 65 cm without frame, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fr...

This fine late 17th-century Flemish portrait depicts a distinguished gentleman wearing a justaucorps, black cloak, white shirt, vest, leather gloves, and breeches. He’s carrying a wi...

Portrait Of Mrs Isabella Blair, 18th century circle of Sir Henry Raeburn (1756-1823) Large 18th Century Scottish portrait of Mrs Isabe...

Portrait of Barbara Palmer 1st Duchess of Cleveland 1640-1709, half-length wearing a red dress and portrayed within a cartouche. Circa 1680 Oil On...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

English School, Portrait of a Gentleman, Oil on Canvas, 18th century, in a feigned oval, unsigned, paper label inscribed "31 / 39012" to verso, giltwood frame. Image: 30" H x 25" W; ...

John Alexander (Scottish, 1686-1766) Portrait of George Gordon, 7th Laird of Buckie (Scottish, 1707-1756), c. 1743 Oil on canvas In a carved ebonised frame, with gilded inner slight...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Oil work on canvas sold with frame. Total size with frame: 58x39x5 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...

Portrait of the Princess of Conti - Attributed to Louis Ferdinand Elle the Younger (1648-1717) Late 17th century French school Oil on canvas, h. 100 cm, l. 80 cm Important Louis XIV ...

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...

Oil on oak panel Image size: 25 1/2 x 19 inches (37.5 x 27 inches) 18th Century Auricular gilt frame Provenance New York private collection This portrait of the King Edward VI depicts the boy-king standing in a black and gold embroidered doublet, wearing a jewelled cap. King Edward holds a staff with a globus cruciger set on the table beside him. No expense has been spared in the making of this piece, with gold leaf being applied in many areas to give the effect of the costume's gold embroidery, chain of office and other metal accessories. As the precious male heir to the Tudor dynasty...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

Workshop/Circle of François de Troy (Toulouse 1645 – Paris 1730) Portrait of a young lady (probably Marianne de Cogny, epouse de Philippe-Emmanuel de Beaufort...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

Artist 17th Century French School Circa 1660 'Diana, Goddess of the Chase' Signature: not signed Medium: tempera on paper applied to oak panel Dimensions: image size 23.5 x 18.5 cm...

Portrait of James Stanley (1750 - 1810), circa 1775-1778, full-length, wearing a red coat and breeches and a gold embroidered waistcoat, hold...

Circle of Cornelius Johnson (1593-1661), a 17th century portrait of a lady, bust-length oval, wearing an ivory silk gown with blue silk bows and lace c...

18th century French School François de Troy (1645 – 1730), Paris, circa 1725 Portrait of a Woman as the Goddess Ceres Oil on canvas: h. 39 in, w. 31.3 in Regen...

Circle of Gerard van Honthorst 1592 - 1656 Portrait of a Gentleman Oil on wooden panel Image size: 29 x 23 inches Contemporary gilt frame Gerard van Honthorst was a Dutch Golden Age...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco de alta época El estado de la obra es bueno, solo comentar que la tela e...

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...

The Triumph Of Galatea, 19th Century follower of Scarsellino (1550-1620) Large 16th 17th Century Italian Old Master of the Triumph of Galatea, oil on canvas. Excellent quality and ...

The Return Of King Agamemnon, 16th Century circle of Frans I FLORIS (1516-1570) Large 16th Century Flemish Old Master depicting the return of King Agamemnon from the Trojan War, o...

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666) Saint Mark the Evangelist Oil on canvas - 85 x 71 cm., Framed 100 x 86 cm. Of great cha...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

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...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Saint James The Greater, 17th Century after ALBRECHT DÜRER (1471-1528) Large 16th 17th Century Old Master portrait of Saint JamesT...