Old Masters Art

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...

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...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

Jacob de Backer (Antwerp, c. 1555 – Antwerp, c. 1585) The Redemption of Adam and Eve after their Expulsion from Eden Oil on oak panel (106 x 76 cm - In frame 126 x 96 cm) Th...

Rembrandt van Rijn 1606-1669 Dutch Woman Bathing Her Feet in a Brook Etching on paper New Hollstein's 309, second state of II Signed and dated "Rembrandt f. 1658" (upper left) Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, within a carved and gilded wooden frame cm. 75 x 108 This delightful landscape view animated by a family of shepherds who rest from their daily duties should be compared to the hand of Francesco Zuccarelli (Pitigliano 1702 - Florence 1788); In the landscapes painted by Zuccarelli the world is crystallized, frozen in a moment of idyllic quiet, where the 'Arcadian' sense of the landscape is rendered with that pictorial vivacity, chromatic lightness and compositional grace that we find in its entirety in his painting. By way of comparison we can compare our canvas to other compositions, including: - Landscape with river and resting shepherds, Accademia Carrara, Bergamo - Landscape with bridge and horseman, Accademia Carrara, Bergamo - Landscape with river, village, fisherman and shepherdesses' (Christie's, London May 1960, - Landscape with figures, Accademia Carrara, - Landscape with knight and figures, Accademia Carrara Tuscan by origin, Francesco Zuccarelli trained first in Florence with the landscape architect Paolo Anesi...

Artist/ School: 17th Century Dutch School Title: An Extensive River Landscape with Figures in the foreground Medium: oil painting on canvas, framed Pai...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

'Napoli' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

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...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714) - Monogrammed Coastal view with vessels and perched castle Oil painti...

French School of the 17th Century – Circle of Pierre Mignard (1612-1695) Title: Female portrait with flowers Medium: Oil on canvas Dimensions: without frame 81 × 68 cm – with frame ...

Ornamental Still Life with fruit, flowers and birds Italian School, 19th century oil painting on canvas, unframed size: 31.5 x 47 inches condition: relined canvas and in very good and presentable condition provenance: from a collection here in England. A very beautiful and decorative oil painting on a huge scale, depicting this classical landscape scene, with ornamental birds...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

Miniature Portrait French School, late 18th/ early 19th century framed: 5.5 x 5.5 inches board: 2 x 2 inches provenance: private collection, France condition: very good and sound c...

Original Self-Portrait Etching by Rembrandt van Rijn (1606-1669) Etching on paper 2 ⅛ x 1 ¾ inches unframed (5.4102 x 4.445 cm) 14 ⅛ x 12 ½ inches framed (35.8902 x 31.75 cm) Description: Rembrandt van Rijn is one of the most celebrated Dutch painters of all time, and rose to prominence in the 17th century for his characteristic use of light and contrast to convey emotion and mood. Much of his artistic practice consisted of history paintings, portraits, and self-portraits, with his rich oil paintings...

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...

Beautiful oil painting on canvas depicting the Roman Forum, in particular the Temple of Jupiter Stator. An important example of Grand Tour painting, this wonderful painting evocati...

The Coronation of the Virgin. Oil on copper. All of our works are covered by our own guarantee of authenticity which covers the work for its ...

Classical Still Life of Flowers English artist, 20th century signed oil on board, unframed dated 1980 board: 14.5 x 11.5 inches provenance: private collection, UK condition: overall ...

St. Simon from "Les Grands Apôtres Debout, Représentant Le Sauveur, La Bienheureuse Marie et Les Saints Apôtres" Original 17th Century Etching by Jacques Callot. This portrait of St. Simon depicts him standing in a street, holding a book and leaning on a saw. The saw is typical of St. Simon's depictions as he was said to have been martyred by being sawed in half. Very good impression of this print, with bold lines and high contrast. This leaflet contains the words "Callot fec." in the bottom right, shorthand for the Latin fecit, meaning Callot made this. This edition contains no publishers mark or numbering on the piece, indicating that it is from the first printing state. Jacques Callot was born in the Duchy of Lorraine around 1592 to an important family in the court. He started an apprenticeship as a goldsmith at the age of 15, but later began learning etching. He is known for his technical skill in etching and for developing the echoppe style etching needle. Callot's etchings featured religious figures as well as soldiers, common people, beggars, and court individuals. His series "The Miseries and Misfortunes of War," published while Lorraine was invaded during the Thirty Years War, later influenced Goya's "Los Desastres de la Guerra...

Artist: English School, early 1800's, circle of John Constable (British 1776-1837) Title: The Woodland Path Medium: oil on canvas, framed, unsigned Size: 12 x 22 inches Picture: 9 x 18 inches Provence: from a private collection in East Anglia...

Letter of the Alphabet D from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Signed on the plate. Good condition...

Judith Grasping The Head Of Holofernes By The Hair And Looking To The Left, and Old Woman to the Right. circa 1640 Etching on cream laid paper with a foolscap watermark, 10 x 7 inche...

A luxury Still life with lobster, ham and fruits Studio of Jan Davidsz de Heem (Utrecht, 1606 - Anvers, 1683-84) 17th century Antwerp school Bears a signature J D D Heem lower left on the table Oil on canvas, dim. h. 78 cm, l. 109 cm (h. 30.70 in, w. 42.91 inch) An 18th century giltwood frame, framed: h. 97 cm, l. 130 cm (38.19 in. x 51.18 in) This is a studio version after the slightly larger original by Jan Davidsz. de Heem (1606-1683) c. 1645 in the Royal Collection at the Royal Palace, Stockholm. Provenance: Galerie Charpentier auction, May 1st 1965 Sumptuous still life in which precious silver, glass and delicious food are displayed on a truly grand scale. The painter invites a viewer to the feast of red cooked lobster, mouth-watering ham, ripe peaches and plums, and sumptuous bunches of grapes. All of this extravagant food is richly displayed on a wooden table elegantly covered with a dark green velvet tablecloth. Our eye is directly attracted to the big red boiled lobster in the middle on a larger silver dish, with a silver plate of crabs in front. Behind the lobster is a large wicker basket with a white napkin, draped over its front edge and supporting a large silver dish...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate Good conditions exc...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl (unsigned)17th century,Oil painting on canvas oval,bust-length . She has dar...

La obra no va firmada, pero en la parte trasera, hay unas inscripciones para mi ilegibles El estado de la obra se puede ver, es bastante aceptable, pero tiene una pátina un poco bri...

Amaizing 19' century Roman landscape depicting a part of Villa Borghese with Trinità dei Monti. With a finely carved gilt wood coeval frame. Measurements with frame cm 65 x78 wit...

Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches (38.1 x 3...

Venice - Mario De Angeli - Italia 2006 - Oil on canvas cm. 70x90. Mario De Angeli's canvas is an extraordinary work of Italian landscape painting. They are inspired by the landscap...

John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - Les Offres d'Amour, Year: 1873, Medium: Heliogravure, Image Size: 6 x 5.25 inches, Size: 6.5 x 5.75 in. (16.51 x 14....

Carved and painted wooden sculpture - Pietà - Italy, 18th century. 13 x 7 x h 22.5 cm. Entirely made of carved and polychrome painted wood. Condition report: Good state of conserv...

We would like to thank Dr. Ursula Härting for confirming that this painting belongs to the studio of Jan Brueghel the Younger, by means of a certificate issued on December 12, 2024. This rare study, executed directly with a brush on a prepared wood panel without any prior drawing, features some twenty birds, most of them domesticated. It is a fascinating testimony to the transmission of forms created by Jan Brueghel the Elder...

This charming British early 19th century portrait oil painting is attributed to circle of Sir William Etty and is masterfully portrayed with beautiful pre Impressionist impasto. Pain...

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century ...

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - La Nativite, Year: 1873, Medium: Heliogravure, Size: 8 x 5 in. (20.32 x 12.7 cm), Printer: Amand Durand, Description...

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) ...

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

Where the Sea Meets Home, A 17th-Century Port Seascape by Andries van Eertvelt Bathed in the warm and vibrant light of a beautiful day, this remarkable 17th-century seascape opens a...

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 charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

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...

Artist/ School: French School, 18th century Title: The Roman Ruins at St. Remy de Provence, France. Inscribed verso to the frame: ‘Ruins at Roman Monument...

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...

Matteo Bonechi (Florence, Italy, 1669 - Florence, Italy, 1756) Title: Presentation of Jesus Medium: Oil on canvas Dimensions: without frame 75 x 49 cm – with frame 89.5 x 65 cm Shaped, carved and gilded wooden box frame Expertise by Sandro Bellesi, Professor and art historian Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

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...

This confidently executed drawing is a study related to Maratta’s painting La Vergine appare a S.Stanislao Kotska 1687 in the second chapel to the right, in the church of S. Andrea a...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...

This lovely British Old Master portrait oil painting is painted in the manner of Sir Henry Raeburn. Painted circa 1800, the sitter is Anne Neale Tucker Lauzun. She was born in St Geo...

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...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero, Etching, 1756 Signed in the plate (see photo) From: Le Antichità Roma...

(after) JOSEPH MALLORD WILLIAM TURNER (1775 - 1851) THE DELUGE, 1828. Mezzotint, Engraved by I. P. Quilly after a painting by J. M.W. Turner R.A.. Image ...

Eugene Delacroix, After by Eugene LeRoux, French (1798 - 1863) - Marphise (Tire de l'Arioste), Year: circa 1850, Medium: Lithograph, Image Size: 10.5 x 13 inches, Size: 19.25 x 2...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

Portrait of an Elizabethan Gentleman in a Black Doublet c.1595 Manner of Hieronimo Custodis (died c.1593) Oil on copper Unsigned This exquisite oil on copper portrait, painted around 430 years ago, is a splendid survival from the Elizabethan era - the golden age in England’s history, when Queen Elizabeth I was on the throne. It is a time that is sandwiched between two golden ages of English renaissance culture, the reigns of Henry VIII and Charles I. This period produced a style of painting quite unlike that anywhere else in Europe and one that deserves serious assessment. Just a couple of years after our portrait was painted, English painting developed on another course, driven mainly by the artists Marcus Gheeraerts the Younger and Isaac Oliver; they depicted a new mood that was pervading Elizabethan and Jacobean society, which was that of romantic melancholy. Elizabethan painting...