Portrait of Barbara Palmer 1st Duchess of Cleveland
By Sir Peter Lely
Located in Taunton, GB
Portrait of Barbara Palmer 1st Duchess of Cleveland 1640-1709, half-length wearing a red dress and portrayed within a cartouche. Circa 1680 Oil On...
Oil
Portrait of Lady Diana Bruce in Blue Dress & Cut Sleeves c.1660-1670, Peter Lely
By Sir Peter Lely
Located in London, GB
Portrait of Lady Diana Bruce in a Blue Dress with Cut Sleeves c.1660-1670 Circle of Sir Peter Lely (1616-1680) Presented by Titan Fine Art is a captivating portrait of the noble Lad...
Oil, Canvas
Portrait of a Lady, in Black Dress with Red Satin Sleeves and Pearls c.1660-1680
By Sir Peter Lely
Located in London, GB
Portrait of a Lady, in a Black Dress with Red Satin Sleeves and Pearls English School c.1660–1680 Circle of Sir Peter Lely (1618-1680) This striking portrait is a compelling exampl...
Canvas, Oil
Portrait of young Lady, c. 1656-58
By Sir Peter Lely
Located in Henley-on-Thames, England
Sir Peter Lely (Soest 1618-London 1680) Portrait of young Lady, c. 1656-58 Half-length, wearing pearls and a blue dress, with her shirt revealed Formerly identified as Elizabeth Clay...
Oil
$1,635
H 16.15 in W 12.01 in
Erasmus of Rotterdam Portrait, 19th Century Oil on Wood Panel
By English School
Located in GB
Hans Holbein the Younger (1497/98 – 1543) was one of the greatest painters of the Northern Renaissance. Born in Augsburg, Germany, he was the son of Hans Holbein the Elder, also a pa...
Oil, Wood Panel
$214
H 0.99 in Dm 10.24 in
"Currency #201" Blue Portrait Artwork with French Text on Red Background
By Natasha Lelenco
Located in FISTERRA, ES
“Currency #201” is a circular mixed media portrait on wood featuring a surreal blue figure against a vibrant red background. Around the head, the French inscription reads: “Nous, les...
Wood, Spray Paint, Acrylic
$2,800
H 14.18 in W 11.82 in
Portrait of an Old Bearded Man
By Christian Wilhelm Ernst Dietrich
Located in Stockholm, SE
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...
Oil, Wood Panel
$5,368
H 30.71 in W 25.6 in D 0.79 in
18th Century Oil on Canvas Portrait, Major Alexander Brown in Military Uniform.
By Sir David Wilkie
Located in Cotignac, FR
18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...
Canvas, Oil, Board
$14,650
H 35.83 in W 29.93 in D 3.15 in
Portrait Gentleman Armour, Blue Cloak, Diamond Brooch c.1700 French Carved Frame
By Joseph Vivien
Located in London, GB
Portrait of a Gentleman in Armour and Azure Cloak with Diamond Brooch c.1700 Attributed to Joseph Vivienne (1657-1735) The sitter in this superb portrait, offered by Titan Fine Art...
Oil, Cotton Canvas
Oil Portrait of a Victorian Lady, c. 1850
Located in Chicago, IL
Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...
Oil
$8,752
H 49.81 in W 39.18 in D 0.4 in
A Rich Merchant - Painting by Unknown - 18th Century
Located in Roma, IT
A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...
Oil
$3,945
H 22.5 in W 18.5 in
17th-Century Flemish School, Portrait Of A Gentleman In A Justaucorps, Oil
Located in Cheltenham, GB
This fine late 17th-century Flemish portrait depicts a distinguished gentleman dressed in the elaborate fashions of the 1670s. He wears a long, collarless coat known as a justaucorps...
Canvas, Oil
$37,343
H 31.34 in W 26.38 in D 1.97 in
Male and female portrait, both in silk kimono, possibly textile dealers
By Christoffel Lubieniecki
Located in Amsterdam, NL
CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...
Canvas, Oil
$2,786
H 14.18 in W 11.82 in
Portrait of an Old Bearded Man With a Black Cap
By Christian Wilhelm Ernst Dietrich
Located in Stockholm, SE
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...
Oil, Wood Panel
$1,820
H 15.75 in W 9.06 in D 1.97 in
Get Some Fresh Air - 21st Century Figure Painting of a Girl with White Orchids
By Carolien van Olphen
Located in Nuenen, Noord Brabant
Carolien van Olphen Get Some Fresh Air Oil on wood panel 40 x 23 cm (Framed 48 x 31 cm, frame is included) Dutch artist Carolien van Olphen has left a great impression in many plac...
Oil, Wood Panel
$3,185
H 23.63 in W 15.75 in D 1.97 in
The Blue Kimono I - 21st Century Figure Painting of a Girl with a Blue Robe
By Carolien van Olphen
Located in Nuenen, Noord Brabant
Carolien van Olphen The Blue Kimono I Oil on wood panel 60 x 40 cm (Framed 68 x 48 cm, frame is included) Dutch artist Carolien van Olphen has left a great impression in many place...
Oil, Wood Panel
Sold
H 54.73 in W 45.67 in D 3.15 in
Portrait of Lady, Elizabeth Wriothesley, Countess of Northumberland, Peter Lely
By Sir Peter Lely
Located in London, GB
Portrait of Elizabeth Wriothesley, Countess of Northumberland (1646-1690) (later Duchess of Montagu) c.1665-1669 Studio of Peter Lely (1618-1680) This exemplary three-quarter-length...
Canvas, Oil
Sold
H 46.5 in W 40.75 in
Portrait of Bridget Drury Lady Shaw, formerly Viscountess Kilmorey
By Sir Peter Lely
Located in London, GB
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...
Oil