Sir Godfrey Kneller

Portrait of Mr. Bagnal ( Pair with Mrs. Bagnal ) Sir Godfrey Kneller and Studio

Circa 1690 - 1720

Sir Godfrey Kneller with studio. Let us know if you want to both at the same time and we will see what we can do. See our other accompanying portaint of Mr. Bagnel - They work tog...

Sir Godfrey Kneller with the studio, Inscribed Mr. Bagnal Lower left. Godfrey Kneller and studio, relined, old cleaning. Old Frame. The frame was repainted and has some chipping an...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would ...

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...

There is a reason why there are few contemporary painters who can paint a portrait this good. It's hard to do. It's easy to throw some paint or spray a mess of graffiti on canvas. ...

Bert Lahr shined in the role of The Cowardly Lion in the Wizard of OZ. Here he is depicted in his comedian's costume which he wears while staring in ...

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...

This elegant large-scale portrait, presented by Titan Fine Art, is a fine example of Sir Godfrey Kneller’s court-style depiction of aristocratic and wealthy women. Beautifully compo...

In late 17th century Amsterdam, no one could rival Nicolas Maes (1634– 1693) in the art of portraiture. As one of Rembrandts most accomplished pupils, Maes explored both genre painti...

Titan Fine Art are pleased to present this exquisite work which recent research has uncovered its fascinating provenence. This work formed part of the collection of family pictures and heirlooms of Barons de Saumarez family at their magnificent 1,400-acre manor, Shrubland Park, near Ipswich, England. The manor was considered amongst the finest Italianate country homes in Britain and the family held the estate for over 200 years (from 1798) until it was sold in 2006 thus marking the end of an era. This exquisite work is an accomplished example of the type of portrait in vogue in England during the last half of the seventeenth century. The highly keyed pallet of rich mauves of the dress is particularly beautiful. The billowing sleeves and the hairstyle help to date this painting to the early 1660’s when they were fashionable (just before the centrally-parted curled hair of the early 1670’s). Pearls were an obligatory accompaniment since at least the 1630s and here they are worn as a necklace and as pear-shaped earrings called ‘unions d’excellence’, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20mm in diameter. Although the lady could afford pearls of her own, pearls were also a common prop in artist’s studios of the time. It was common to commission a portrait to mark important occasions such as a betrothal or birth - but it was also common for both men and woman to commission portraits of themselves to give as gifts to their family or friends (and also to keep up to date with current fashions). The motif of the horizontal ledge employed in this portrait is quite unusual. Its inclusion affords the portrait with a sense of uniqueness making it stand out from the legions of others that were painted at the time. The first recorded owner of the estate was Robert de Shrubeland, although there is evidence of occupation on the site since the Roman period. The previous Tudor-style Shrubland Hall was built by the Booth family in the early 16th century. The present Grade II listed hall was built in the 1770’s for the Revd. John Bacons. The property changed hands a few times until it was purchased in 1798 by Sir William Fowle Middleton, 1st Baronet. It descended from him to the 7th Baron de Saumarez, Eric Saumarez who sold the property in 2006 following the death of Lord de Saumarez's father in 1991 and his mother, Lady de Saumarez, in 2004. The property was one of finest stately halls, with spectacular gardens and more than 1,300 acres. The equal, it was said, was Queen Victoria’s Osborne House on the Isle of Wight. Baron de Saumarez, of the Island of Guernsey, is a title in the peerage of the United Kingdom created on 15 September 1831 for the naval commander Admiral Sir James Saumarez, 1st Baronet. The ancestral family seat was at Le Guet, Castel, on the island of Guernsey, with a second seat at Shrubland Park. The Saumarez Manor estate in Guernsey belongs to a senior line of the family from which the Barons de Saumarez are descended: Matthew de Sausmarez (1718–1778), father of the first baron, was the younger brother of John (1706–1774), of Sausmarez Manor. Presented in a beautiful antique carved and gilded frame with acorns and acanthus leaves. Sir Peter Lely’s character and art dominated the art world of the second half of the seventeenth century in England. Everyone of consequence in his age sat to him, and it is in his portraits that we form our conception of English portraiture during the Protectorate and years following the Restoration. He was the son of a Dutch military...

A portrait of Elizabeth Bellenden, three-quarter length, wearing an ivory silk gown, the bodice trimmed with jewels, her hair dressed with pearls, standing on a classical terrace of a country estate (quite possibly the family owned Pontrilas family estate in Herefordshire) her outstretched hand about to pat the head of her spaniel seated beside her on a red velvet cushion on a plinth. Signed lower right 'Vanderbank Fecit'. Circa 1735. Stencil mark on the stretcher on the reverse. Oil on canvas in a carved wood and gesso frame. Provenance: Christie's London, British Pictures, 24 November, 1998, lot 16 Elizabeth Bellenden was the daughter of James Bellenden, the son of John, the 2nd Lord Bellenden and so directly related to the Dukes and Earls of Roxburghe. She was married to John Jackson who was the Governor Elect of Bengal but who sadly died in 1748 before taking up his new position. They had two daughters, Mary (known as Molly) and Elizabeth. Her second husband was Edward Kelly of Dublin. This charming composition follows in the tradition of celebrating beloved canine companions by featuring them in portraits alongside their owners. From the 17th century, the popularity of the spaniel had grown in England amongst the wealthy and upper classes and in art the pet dog was often used to symbolise the traits of loyalty and fidelity in marriage. As Elizabeth is seen here wearing white, with rings on her fingers, this may have been a portrait commissioned to celebrate her recent engagement or marriage to John Jackson. . John Vanderbank (1694-1739) was born in London, the eldest son of John Vanderbank Senior who was the owner of the Soho Tapestry Manufactory. He was one of the first students at Godfrey Kneller's academy, later taken over by Sir James Thornhill. In 1720 Vanderbank opened his own academy with Louis Chéron, holding life classes with both male and female models, but in 1724 fled to France to avoid debtors prison. George Vertue ( Vertue, notebooks, 3.98) noted that 'he liv'd very extravagantly, keeping a chariot horses a mistress drinking and country house a purpose for her'. In Vertue's opinion, ( Vertue, notebooks, 5.98) after Kneller's death, Vanderbank could have been the leading portrait painter of his day had he not lived so extravagantly. Vanderbank's portraits are distinguished by his rich use of colour, particularly in the flesh tones. His sitters included Sir Isaac Newton...

This exquisite work depicts the English politician Sir Matthew Dudley, 2nd Baronet (1661-1721) - it was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the P...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

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...

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...

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...

Portrait Of A Senior British Military Officer, Identified as Charles Sackville, 6th Earl Of Dorset (1643-1706) circle of Sir Godfrey KNELLER...

DIMENSIONS: (unframed) 49 x 40 inches (124.5 x 101.6 cm) SIGNATURE: Titled (lower left) MEDIUM: Oil on canvas This beautiful portrait depicts Frances Thynne, daughter of Viscount We...

Style of Sir Godfrey Kneller 1646 - 1723 Portrait of William Russell, Lord Russell Oil on canvas Image size: 12 x 11 inches (30 x 28 cm) In a period carved gilt frame

Lady Jane Jackson (née Vandeput) (1679-1731), 17th Century by Godfrey Kneller (1646-1723) signed & dated Huge circa 1700 Old Master portrait of Lady Jane Jackson, oil on canvas by Godfrey Kneller. Leading example of Knellers work and beautiful three quarter length portrait of Lady Jackson wearing a red dress with the family estate beyond. Superb condition and provenance. Framed. Signed and dated 17** Jane was the daughter of Sir Peter Vandeput. The Vandeput's were wealthy merchants who had moved from Antwerp to London. She later married Philip Jackson...

Portrait Of A Young Lady, Traditionally Identified As Rachel Russell, Duchess of Devonshire (1674-1725) circle of Sir Godfrey Kneller (1646–1...