18th Century and Earlier Portrait Paintings

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Painter active in Rome in the early 17th century Susanna and the Old Men Oil on canvas 76 x 62 cm. with frame 92 x 78 cm. This valuable painting illustrates the piquant episode, ta...

This fine oil on canvas, attributable to a late 17th-century Venetian artist, is a coeval copy of the famous portrait by Pieter Paul Rubens, documented in the collections of Cosimo I...

Christ Wearing The Crown Of Thorns, 17th Century circle of Carlo Dolci (1616-1686) Large 17th Century Italian Old Master of Christ wearing the Crown of Thorns, oil on canvas. Excel...

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

Portrait of Mr. Gilbert (believed to be the founder of 'Gilberts Charity, Bridgwater, Somerset) English School artist, late 17th/ early 18th century oil...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

This superb Dutch Golden Age portrait is attributed to circle of Dutch artist Wybrand Simonsz de Geest. Painted in 1666 it is a full length portrait of a young William Stonestreet. He is holding the paw of a clipped little white dog with drapes and clouds beyond. (It was common practise to dress young boys in dresses up to the age of about 6 or 7 when they were 'britched' or wore britches). An excellent example of Dutch Golden Age art that wouldn't look out of place in a museum. Wm Stonestreet 1666, Prebend of Selsely is inscribed top left. Provenance. Berkshire estate. Condition. Oil and canvas, 44 inches by 36 inches and in good condition. Frame. Housed in an ornate gilt frame, 52 inches by 44 inches and in good condition. Wybrand Simonsz. de Geest (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland in the Netherlands. Wybrand de Geest was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle". De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh...

This exquisite 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

What is so wonderful and unusual about this 18th Century portrait is the relatability of the sitter. There is an openness to the world in his gaze, curiosity, a sense of humour, pass...

Miss Ada Gossett, circa 1673, half-length in a landscape at dusk, wearing an amber silk gown adorned with a gold trimmed gauze shawl and fine jewels, wearing a pearl necklace, her fa...

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

Giovanni Battista Paggi (Genoa 1554 – Genoa 1627) Venus, Bacchus and Ceres (Parallel title: ‘Sine Cerere et Baccho, friget Venus’) Oil on canvas 103 x 78 cm. - Framed 125 x 100 cm. ...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

Circle of Jean-Étienne Liotard (Geneva, Switzerland, 1702 – 1789) Portrait of a lady Medium: Oil on canvas Dimensions: without frame 73 x 58 cm – with frame 87.8 x 73.7 x 4.5 cm Not ...

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...

The sitter is Mary Charlotte Anne Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

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...

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

Venetian master (18th century) - Mask of Colombina. 161 x 68 cm without frame, 169.5 x 76.5 cm with frame. Antique oil painting on canvas, in a white lacquered wooden frame (not si...

Thomas Hudson (Devon 1701 - London 1799) Portrait of a Notable in his Study Oil on canvas 124 x 102 cm. In antique frame 142 x 120 cm. This fascinating portrait is a valuable te...

Luis de Morales, called 'El Divino' (Badajoz 1509 - 1586) workshop of La Pietà with Saint John Oil on panel (82 x 65 cm /In frame 109 x 92 cm) STATE OF CONSERVATION: The panel is in good condition, with restorations and cracks clearly visible from the pictures. Gilded and lacquered wooden frame, in good condition. We present this intense Pietà executed on wood panel, the work of a painter of the late Spanish Renaissance who drew on the celebrated iconographic model created by Luis de Morales, known as El Divino (Badajoz 1509-1586), a subject reproposed by the artist and then by his flourishing workshop in numerous versions. This is an extraordinary work, in which the author demonstrates incredible realism and emotional depth in his portrayal of the Madonna and Christ, accompanied by Saint John the Evangelist. In an extremely devout Spain, Luis de Morales counts himself as one of the painters most interested in the dramatic aspects of Christ's life, from his painful Passion journey to his death. This devotional subject, the Pieta, so frequent in Christian art, is renewed in Morales' art with enormous expressive force; it is not for nothing that the artist was nicknamed the Divine, and not only for the creation of a devotional iconography in line with the spirituality of the time, but also for the intrinsic intensity of his religious paintings. The depiction, to great dramatic effect, shows Christ, immediately after being deposed from the cross, gently welcomed into the arms of the Virgin. The intense maternal compassion is also evident in the expression on her face, which, always aware of her son's fate, exudes suffering, melancholy but also serene resignation. Christ, abandoned in his mother's embrace, shows an emaciated and sorrowful face, made even more ghostly by his half-open mouth. The tree of the cross looms over the figures, emphasised by an evocative dark, completely monochrome background, to which the three figures are contrasted with strong lighting. Evident in Morales' painting is the devotional slant typical of Counter-Reformation painting, accentuated by a style that recalls both Italian painting for its research and chiaroscuro effects, and Flemish and German painting for its strongly accentuated dramatic tones. The work shows a strong physical and psychological characterisation of the characters, rendered by the marked chiaroscuro effects and the plastic construction of the figures, also using a sfumato technique, which show the primary influence of Leonardo da Vinci, Raphael and Sebastiano del Piombo. On the other hand, his Flemish training is evident in the anatomical modelling and treatment of the folds of the Virgin's dress, which retain the sharpness of the Nordic painting tradition. We can mention, among the most beautiful versions similar to our composition: - Fig.1 Luis de Morales (c. 1520-1586), La Piedad, c. 1568, Óleo sobre tabla 72 x 50 cm.
Museo de Bellas Artes de Bilbao - Fig.2 Luis de Morales, La Piedad, c. 1560, Óleo sobre tabla 126 x 98 cm.
Real Academia de Bellas - Fig.3 Luis de Morales, La Piedad, 1565 - 1570, Oil on panel 42 x 30 cm.
Museo del Prado - Fig.4 Luis de Morales, Triptych of the Pietà St John and St Mary Magdalene...

Nicolaes Maes (Dordrecht 1634 - Amsterdam 1693) circle of - Portrait of a Gentleman. 81 x 65 cm unframed, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved an...

Cain & The Death Of Abel, 18th Century School of William Blake (1757-1827) Circa 1790 English School depiction of Cain and the Death Of Abel, oil on canvas. Rare biblical depiction...

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...

Ciro Ferri (Rome, 1634 – Rome, 1689) Attributed to Annunciation (probably a preparatory sketch) Oil on canvas 61 x 41 cm - In frame 79 x 49 cm The work, certainly commission...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

Unknown artist Prague School Portrait of Emperor Ferdinand I. (1503-1564) 17th century Oil on copper, 21,3 x 16,8 cm Provenance: Private collection, Pennsylvania, until 2016 This work by an unknown artist is a semi-portrait in predominantly brown-green tones. brown-green tones of the emperor Ferdinand I, who was crowned emperor in 1558. Ferdinand I of the Habsburg dynasty, who was crowned emperor in 1558. in a suit of armour lavishly decorated with gold ornaments. The portrait of Ferdinand...

Portrait Circle of Sir Godfrey Kneller Bt. unsigned (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

This charming mid-18th-century half-length French portrait depicts a lady wearing an olive green gown, together with a red cloak, and exquisite sapphi...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

The Annunciation Circle of Paolo De Matteis (Piano Vetrale, 1662 - Naples, 1728) oil painting on canvas (106 x 90 cm - with frame 118 x 103 cm.) The work,...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) - workshop of Portrait of Bianca Cappello (Venice, 1548 - 1587) Grand Duchess of Tuscany, second wife of Francesco I de 'Medici Second half of the 16th century oil on canvas, cm. 70 x 56 cm., Framed 103 x 87 cm. The proposed painting illustrates the portrait of Bianca Cappello (Venice, 1548 - 1587), a noblewoman of Venetian origins, second wife of the Grand Duke of Tuscany Francesco I de 'Medici, whose expressive power is wisely highlighted by the composite cut of light three quarters, with the head and gaze directed at the observer. The beam of light coming from her right brings out the volumes of her face plastically and lingers on her features, highlighted by the large white lace ruff that surrounds his neck and by the details of her precious clothing. Bianca wears a dark red dress, perhaps a zimarra, embroidered in gold with a plunging neckline and a raised collar of the shirt curled in a ruff and also edged with precious lace, embroidered with the motif of the Florentine lily.   The favorite jewels of the noblewoman were pearls: we see them on a choker that adorns the neckline, in the earrings and again in the hairstyle, which sees the hair gathered at the nape of the neck and adorned with a string of small black pearls and embellished with a clasp. It is a high-quality painting that can be confined to the workshop of the painter Scipione Pulzone called Gaetano, representing at best a pictorial genre, that of portraiture, in which the master excelled. This attribution would be confirmed by comparisons with the numerous portraits that Pulzone dedicated to the Medici family. Our painting, in particular, could represent one of the versions that the workshop has replicated, at the request of the numerous art collectors who wish to have a portrait of one of the most influential personalities of the Florentine scene. The characters drawn by Pulzone were icons of incomparable elegance: noblewomen, knights and religious lent their faces to the eye of the artist who was able to grasp every meticulous detail with his superb technique. A photographic wealth and surprising material attention that trace the pictorial prototypes of Flemish inspiration, in particular of Antonis Mor...

Portrait of a Levantine Merchant, 18th Century Italian school. Oil on canvas. Circle of Giuseppe Nogari (1699-1763) Dimensions with frame cm 71 x 5...

Portrait Of A Lady, Frances Bard (1646-1702) Mistress of Prince Rupert von de Pfalz, Duke of Cumberland (1619-1882) follower of Anthony Van Dyck (1...

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...

Giovanni Battista Beinaschi (Fossano, Italy, 1636 - Naples, Italy, 1688) Title: Saint Bartholomew Medium: Oil on canvas Dimensions: without frame 9...

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...

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

This portrait, attributed to the American painter Ralph Earl, captures Benedict Arnold, one of the most controversial figures of the American Revolutionary War. Ralph Earl, known for...

In this exquisite work, painted around the time of the Great Fire of London in 1666, a beautiful young woman is wearing a green dress over a white chemise and a russet-coloured scarf...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...

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...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Titre : Portrait de jeune femme à la coiffe noire Artiste : Entourage de Charles-André Van Loo (1705–1765) École : Française, XVIIIe siècle Technique : Huile sur panneau Dimensio...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

George Knapton (London 1698 - 1778), attributable Portrait of a young aristocratic maiden sitting by a fountain in a garden in the company of a lamb Oil on canvas (127 x 102 cm - Fr...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

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...

Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...

Portrait Of Elizabeth Plumer (nee Byde) & Daughter, circa 1735 by ENOCH SEEMAN (1694-1744) Large 1735 portrait of Elizabeth Plumer & her daughter holding a rattle, oil on canvas by...

Portrait Of Lucas Cranach The Elder (1472-1553), 16th Century German Renaissance School Large 16th Century German School portrait identified as Lucas Cranach The Elder, oil on canv...

Topers in Deep Conversation Dutch School, mid 17th entury circle of David Teniers (Dutch 1610-1690) oil on canvas canvas: 8 x 7 inches provenance: private collection, France conditio...

Portrait Of A Lady, Stilte Family, 17th Century attributed to Jan Cornelisz VERSPRONCK (1597-1662) Large 17th Century Dutch Golden Age portrait of a lady, oil on cradled panel. Excellent quality and condition portrait of the lady wearing a ruff and cap with elaborate lace work and a gilded embroided dress...

Bernardino Detti (Pistoia, Italy, 1498 - 1572) Title: Face of Christ Medium: Oil on canvas Dimensions: without frame 41 x 32 cm - with frame 47 x 55.5 cm Antique box frame made of solid wood and walnut burl. Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...