Old Masters Portrait Paintings

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

Portrait of a Young Gentleman, Pieter Van Der Dvssen c.1664 Jan van Haensbergen (1642–1705) This charming portrait is an excellent example of late 17th century child portraiture and is from one of the most prolific periods in art history – the Dutch Golden Age. A vast number of artists produced work to fulfil the demands and tastes of a broad Dutch society, and many cities in the Netherlands developed into distinct artistic centres, characterised by style and specialities of subject. The quality of our portrait is similar to the works of the highly specialised ‘fijnschilders’, who were working in Leiden at the time; these artists executed meticulous small-scale paintings. As with the artist’s other works of children, Haensbergen painstakingly recorded many details including a fine depiction of the face, and the surface effects of the materials and the pearl clasps. The young sitter is Walther Bernt Pieter Van der Dussen. He was born into a wealthy noble Catholic family in Delft in 1654. In this portrait he would be around ten years of age, dating the work to circa 1664, which is also the year before the artist’s marriage to Johanna van Heusden. The Van der Dussen family were great patrons of the arts and commissioned a number of major works from eminent artists in Delft & Amsterdam. Van der Dussen died in 1716. The wooded setting, the lamb, and the “picturesque” or “Roman” dress...

Pauwels Franck, known as Paolo Fiammingo (Antwerp, 1540 - Venice, 1596) Venus lying in a landscape Oil on canvas 116 x 150 cm. In antique frame 136 x 170 cm. The work is accompanied by a critical card by Dr. Federica Spadotto The splendid painting proposed sees portrayed, bare and stretched out on a red brocade cloth in gold sprinkled with roses, a refined and sensual Venus, in a composition with a profound symbolic value, and arriving at the perfect representation of the Renaissance woman who, like Venus, becomes an allegory love, eros, beauty and fertility. The canvas is part of the prestigious Venetian artistic and cultural environment of the second half of the sixteenth century, whose distinctive distinctive trait can be traced back to its cosmopolitan vocation. This characteristic, as Dr. Spadotto noted in her in-depth study, belongs to the same physiology of the Venetian capital, that is, being a distinctly commercial city located in a strategic point with respect to trade. Representing one of the liveliest ports in the Mediterranean also meant witnessing the continuous passage not only of goods, but of men, ideas, suggestions from distant countries, which influenced not only the taste of their people, but above all art. This happened thanks to the circulation of prints, as well as pictorial specimens, to which are added the stays of great foreign artists and, above all, the permanence in the capital of a non-negligible number of Dutch, Flemish and German masters. An emblematic case in this regard comes from Pauwels Franck (Antwerp, 1540 - Venice, 1596), better known as Paolo Fiammingo, who established himself in his native city at a young age - in 1561 a figure enrolled in the Guild of San Luca - and arrived in Venice in 1573. . He resided in Venice from 1584 until his death, although the stylistic and formal references of some of his works have led critics to believe that in previous years he had undertaken a journey to central Italy, or to Florence and Rome, where he would have metabolized the lively cultural debate that permeated these cities and which, on the other hand, seemed completely absent in Venice. Here Paolo will be fascinated by the sense of color and by the atmospheric component fixed on the canvas by Jacopo Tintoretto (Venice 1518 - 1594), of which he becomes a collaborator, to undergo, around 1590, the suggestion of Paolo Caliari...

Giovanni Stefano Danedi, called Montalto (Treviglio 1612 - Milan 1690) Madonna and Child crowned by angels Oil on panel, 58x36 cm without frame - 83x61 cm with frame 19th century sha...

Antonio Mercurio Amorosi (Comunanza 1660 - 1738) Portrait of a little girl with cat Oil on canvas, cm. 42 x 31.5 – with frame cm. 56 x 44 Shaped, carved and gilded wooden cassetta fr...

Circle of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady, traditionally identified as Princess Henrietta Anne Stuart Oil on canvas Image...

French school of the eighteenth century Atelier of Jean-Marc Nattier (Paris 1685 - Paris 1776) Portrait of a gentleman in armor Louis XV period - early 18th century Oil painting on canvas, 81 x 65 cm., In frame 97 x 80 cm. The painting examined here, depicting a gentleman in a knight's armor, presumably a noble officer, can be dated to around the beginning of the 18th century and is evidently a work to be referred to the prolific and prestigious Parisian workshop of Jean-Marc Nattier (Paris 1685 - Paris 1776), one of the most significant portrait painters of his time and a great interpreter of the French school, one of the leading portrait painters of the reign of Louis XV. Thanks to his numerous pupils, he produced a large number of splendid portraits, such as the work we are offering you, which fully exhibits the formal and aesthetic elegance required by the master's atelier for the demanding aristocratic clientele. Note the meticulous rendering of the facial features and the sharpness of the contours highlighted by the light, both in the details of the face and in the reflections of the armor, rendered with great skill. Behind our portrayed, presumably to evoke his military exploits or to honor a recent victory, a glimpse of a battlefield is depicted, still in the midst of combat, with the fumes of the cannons that are dispersed in the sky, with the typical colors gray-blue used by Nattier in his works. The pose of our lord is royal, canonical to all officers of rank, following the favorite formula for the portraits of the members of the French aristocracy, presented in half-length to three-quarters and with a proud gaze towards the observer, as illuminated by the glow of his own prestige: in our case he wears the parade armor and is immortalized with the classic hairstyle surrounded by a bow on the back from which a long lock of hair starts. The work is presented in an excellent state of conservation, with a gilded wooden frame. For more information, please contact us. It is also possible to see the painting in our gallery in Riva del Garda...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

Fine Portrait of a lady standing in a landscape wearing a white satin dress and holding a posy of flowers. Manner of Sir Godfrey Kneller (1646-1723) ...

Venetian school of the end of the 16th century Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544 - 1628) Saint Jerome Penitent Oil painting on canvas 85 x 64 cm. - In frame 97 x 76 cm. This splendid painting, which offers us an intense representation of San Girolamo...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

Antique Italian Grand Tour Oil on Canvas painting, "Mary Magdalene," by Achille Leonardi (Italian, 1800-1870), circa 1840. The painting depicting Mary Magdalene looking skyward and in the manner of...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

Cristoforo Serra (Cesena 1600 - Cesena 1689) Portrait of a Shepherd Oil on canvas, cm. 92 x 75 - with frame cm. 106,5 x 94,5 Antique giltwood cassetta frame, carved and sculpted Pu...

Artist/ School: 17th Century Dutch School Title: Ladies Collecting Flowers Medium: oil painting on panel, framed Oval : 6.75 x 9.25 inches, frame...

Erasmus Quellinus II (Antwerp 1607 - 1672) Vanitas (as an Allegory of the Vanity of Life or of Youth) Oil painting on canvas - cm. 121 x 84, in the frame cm. 135 x 98 The work is accompanied by an in-depth study written by prof Emilio Negro, from which we present some extracts. The theme of the painting that we propose is a singular and rare "Vanitas", a subject of strong moral value which, in the pictorial field, refers to a composition with symbolic elements alluding to the theme of the transience of life, and therefore intent on soliciting the viewer to meditation on the transience of human destiny and on the fragility of worldly pleasures. These subjects, which had particular success in the Flemish context, are works of great charm, interesting to study and often difficult to decipher; protagonist of our canvas we see a capricious little love, sitting on a sarcophagus, a sort of pictorial anthropomorphic Carpe Diem (seize the fleeting moment), who invites you to meditate on the transience of life and to enjoy the moments of happiness it grants; this regardless of the alternating fortunes of fate, symbolized by the putto's foot trampling the gold coins, the precious fabric, the scepter, the ermine stole, the skull, the hunting horn and the books. Next to him is a still life of multicolored flowers, collected in a crystal vase, whose presence takes on a clear allegorical meaning, since they constitute the metaphor of the transience of youthful beauty which, like fresh flowers, is destined to wither. . Particularly noteworthy is the stone sepulcher on which the sweetheart sits, on which stands the acronym "DMS", to be dissolved in the Latin phrase "Diis Manibus Sacrum", that is to the sacred gods of hands, corresponding to the invocation carved on the tombstones. of the last paganism, addressed to the spirits of the deified ancestors. Another very interesting detail is the white sheet that emerges from the pages of the voluminous closed psalter, in which the Latin phrase is traced in beautiful seventeenth-century calligraphy: "Defecerunt sicut fumus dies / mei Psal J.97" to translate: "my days almost smoke they have vanished "(Psalter, Psalm 1. 97), equivalent to another exhortation to reflect on the short duration of existence. With regard to the pictorial origin of the composition in question, it should be noted first of all that it is an interesting replica, with some modifications, of a four-handed work by Erasmus Quellinus the Younger (the figure of the putto) and Daniel Seghers (the still life). Of the same composition is also known a version entitled 'Allegory of the passage of Youth', passed by Sotheby's in Amsterdam as Cornelis Schut...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right. Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...

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...

Giovan Battista Beinaschi (Fossano, 1636 - Naples 1688) Saint Bartholomew Oil on canvas, cm. 96 x 71,5 – with frame cm. 108 x 86 Shaped and gilded ...

19th century portrait, child at play ,Attributed to Henry Tanworth Wells A beautiful oval portrait of a young child at play, attributed to the portrait painter Henry Tanworth Wells. finely executed, this oil on canvas is in excellent condition. Housed in a period frame. The size overall is 79 cm x 62 cm whilst the painting is 56 cm x 46 cm Henry Tanworth Wells [1828-1903] Henry Tanworth Wells RA was an English miniature and portrait painter. He was a member of the Pre-Raphaelite circle though he painted in the academic style. His most popular painting...

Peintre actif à Rome au XVIe siècle - entourage de Scipione Pulzone (Gaeta 1550 - Rome 1598) La Pietà (Christ mort soutenu par la Madone) huile sur t...

Late Gothic, German (15th century) Painter of the Cologne school, circle of Stephan Lochner (Meersburg, around 1400 - Cologne 1451) Panel (compartment of a polyptych) with gold backg...

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

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...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Oil on canvas, cm. 65,5 x 51,5...

Cesare Gennari (Cento, 1637 - Bologna, 1688) Rinaldo holds back his beloved Armida Oil on canvas - 119 x 164 cm. - In frame 141 x 189 cm. The work is accompanied by a critical study written by prof. Emilio Negro (Bologna) This valuable work can be ascribed to the production of Cesare Gennari (Cento, 1637 - Bologna, 1688), and depicts the episode of the last canto of the heroic poem the 'Gerusalemme Liberata' by Torquato Tasso, which features the two famous lovers...

Artist/ School: French School, 19th century Title: The Soldiers Camp Medium: oil painting on thick wooden panel, with a bevel edge Size: painting: 12.5 x 22 inches, frame: 16.5 ...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

NICOLAS DE LARGILLIÈRE (Paris 1656 - Paris 1746), circle Portrait of a gentleman late 17th century oil on canvas cm. 59 x 56 with frame 71 x 59 Beautiful portrait, of excellent quality, depicting an austere gentleman who peers intensely towards the observer. He is depicted three-quarters, powdered with the long wig called "Léonine", in a red velvet cloak...

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

Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...

CASTAING Henri Joseph (1860-1918) Young girl at the source Oil on canvas signed low left Frame gilded with gold leaves Dim canvas : 100 X 66 cm Dim frame : 121 X 86 cm CASTAING Henr...

English 19th century portrait of a White / Grey hunter in a stable. Charles Towne was born in Wigan in 1763. He was trained as a coach painter, and by ...

A wonderful Oval oil on canvas portrait of a little girl. Very much in the style of Jean-Baptiste Greuze.

This splendid panel, made in the last decades of the sixteenth century, depicts San Girolamo, a monk who lived between the 4th and 5th centuries, presente...

Francis Hayman RA 1708–1776 Self-Portrait Oil on oak panel Image size: 8 x 6¼ inches Contemporary gilt frame This newly discovered work is the earliest known self portrait by Francis Hayman, dated to the mid to late 1720’s. The small scale of the portrait gives it a strong sense of intimacy. Whereas clients would often dress themselves in their best clothes for a sitting, Hayman has portrayed himself in informal attire, with his shirt unbuttoned and a wig cap. Born in 1708 to a respectable Devonshire family, his training began at the tender age of ten under the tutelage of the historical painter Robert Brown, who was probably an uncle. By the 1730’s he is known to have been engaged in painting scenery for the popular theatres on Goodman’s Fields and Drury Lane. He established a studio on St Martin’s Lane, and demonstrated his versatility as one of the most important painters of his time in portraits, illustration and history painting. Indeed, he was one of the first English painters deemed to have the skill and proficiency to rival that of the foreign masters, such as Holbein and Kneller, who were brought in by the court to make up for the perceived shortcomings of the native artists. Led by William Hogarth, Hayman and other artists began to create a new movement in the English art world. Thomas Gainsborough was one of his pupils, whom he is said to have introduced to the more lascivious and debauched underbelly of London life. After mostly making his living as an illustrator, in the 1740’s Hayman was commissioned by the proprietor of the Vauxhall Pleasure Gardens, Jonathan Tyers, to produce a series of four large celebratory canvases depicting British victories from the Seven Years War. His association with Tyers continued, and over the next ten years he produced a number of large decorative paintings...

Very decorative, 17th century, old master painting, oil on canvas, King Alexander Magnus, the great. Illustration of two children, putti, with wreaths of flowers on a board (or maus...

Eighteenth-century French school Entourage de François Boucher (Paris 1703 - 1770) Cupid who shoots his arrow Oil on canvas, 48 ​​x 40 cm with frame 58 x 49 cm. The painting, of pl...

COUDER Alexandre Jean Rémy (1808-1879) Reading on the sofa Oil on canvas signed low left Old original frame gilded with leaves Dim canvas : 47 X 39 cm Di...

Courtiers Party in the Park in 18th Century In the Taste of Nicolas Lancret (1690-1743) Oil on canvas Frame gilded with leaves Dim canvas : 73 X 59 cm Dim frame : 100 X 87 cm

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...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

Extremely decorative and large oil painting from the 17th century. Restored in places.   Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...

Sir Godfrey Kneller with studio, Inscribed Mr. Bagnal Lower left. Godfrey Kneller and studio , Unlined, old cleaning. Old Frame. Frame was repainted and has some chipping and a fe...

This vivid portrait is a perfect example of the small portraits that made Boilly's reputation. Executed in just two hours and sold at an attractive price, they provided the artist wi...

Circle of Francisco José de Goya y Lucientes (Fuendetodos 1746-1828 Bordeaux) Portrait of a María del Rosario Fernandéz, called 'La Tirana' (1755-1803). OIl on canvas. 76.5 x 57.2 c...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...

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...

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...

Portrait of a lady, seated on an ornamental garden terrace, wearing a russet coloured dress adorned with pearls and jewels, by Caspar Netscher, c.1680....