Sir Peter Lely was a painter of Dutch origin whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Lely was born as Pieter van der Faes to Dutch parents in Soest in Westphalia. He studied painting in Haarlem, where he may have been apprenticed to Pieter de Grebber and became a master of the Guild of Saint Luke in Haarlem in 1637. Lely is reputed to have adopted his surname from a heraldic “Lely” on the gable of the house where his father was born in The Hague. After arriving in London around 1643, his early English paintings, mainly mythological or religious scenes or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lely’s portraits were very well received and he succeeded van Dyck (who had died in 1641) as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers’ Company in 1647 and was portrait artist to Charles I. His talent ensure that his career was not interrupted by Charles’ execution and he was appointed as Charles II’s Principle Painter in Ordinary in 1661, with a stipend of £200 per year. Lely became a naturalised English subject in 1662 and his demand and workshop were prolific.
$16,513
Studio of Sir Peter Lely, Portrait of Lady Anne (later Queen Anne)
By Studio of Sir Peter Lely
Located in Oxford, GB
Studio of Sir Peter Lely (1618-1680) Portrait of Lady Anne (1665–1714), later Queen Oil on canvas 20⅞ x 16¾ in. c.1678 Provenance Capt. H. A. N. Forte of Polock, West Somerset; Chri...
Oil
Queen Mary II, when Princess Mary of York, as Diana
By Studio of Sir Peter Lely
Located in London, GB
Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm) Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...
Canvas, Oil
17th Century portrait oil painting of a lady
By Studio of Sir Peter Lely
Located in Nr Broadway, Worcestershire
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...
Canvas, Oil
Portrait of Lady Caroline Price
By George Romney
Located in Miami, FL
DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...
Oil, Canvas
$9,685Sale Price|20% Off
H 44.1 in W 37.41 in
Madonna Child Maria Sassoferrato Paint Oil on canvas 17th Century Old master Art
Located in Riva del Garda, IT
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...
Oil
$2,074Sale Price|20% Off
H 26.38 in W 33.08 in
Deposition Atala De Roussy-trioson Paint Oil on canvas 19/20th Century French
Located in Riva del Garda, IT
The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...
Oil
$7,968Sale Price|20% Off
H 43.31 in W 36.23 in
Madonna Maria Piola Paint Oil on canvas 17/18th Century Old master Religious
Located in Riva del Garda, IT
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...
Oil
$4,045Sale Price|20% Off
H 16.54 in W 15.36 in
Christ Salvator Mundi Paint Oil on copper 16/17th Century Flemish school
Located in Riva del Garda, IT
Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...
Oil
$7,355Sale Price|20% Off
H 34.26 in W 28.75 in
Portrait Philip V King Rigaud Paint Oil on canvas 17/18th Century Old master Art
Located in Riva del Garda, IT
Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting examined here, depicting King Philip V of Spain (Perpignan 1659 - Paris 1743), is to be placed in the circle of the painter Hyacinthe Rigaud (Perpignan 1659 - Paris 1743), one of the most significant portrait painters of his time and a great interpreter of the French school. This is a work of excellent pictorial quality: note the rendering of the facial features and the sharpness of the contours emphasised by the light. The face is characterised by chiaroscuro passages that verisimilarly reproduce light and its effects, rendered with great skill. Philip V wears a black satin costume with a sword at his side, he wears the stiff white Spanish collar and at the same time wears the blue sash of the Order of the Holy Spirit and the collar of the Habsburg Order of the Golden Fleece: this bringing together of the two main orders of France and Spain announced the possibility of a union between the two crowns. In Spanish costume, this effigy is nevertheless fully in line with the French tradition of ceremonial portraiture, also testifying to the renewal that Rigaud had brought about, particularly through the relationship between the character and the splendour of the decoration. The work is inspired, reworked in a reduced format to make it suitable for a private clientele, by the large painting that Rigaud made for the sovereign around 1700, today conserved in the Louvre, reproduced by the same workshop in numerous other versions. The account books...
Oil
$9,000
H 40 in W 30 in
Rebel - Oil on Canvas Figurative Painting, 40h x 30w in, Signed, 2026
By Bruno Surdo
Located in Chicago, IL
A contemporary cowboy is rendered with the gravity of a classical male nude. Surdo treats the body with the care of an Old Master while layering in the mythology of American masculin...
Canvas, Oil
$6,500
H 21.88 in W 25.25 in D 1.5 in
17th Century Memento Mori Vanitas Skull Old Master Oil Ex-Christie’s
Located in Yardley, PA
This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...
Canvas, Oil
$7,155
H 33.5 in W 29.5 in D 2.25 in
18th Century portrait oil painting of a lady in an ermine trimmed cloak
By Sir Godfrey Kneller
Located in Nr Broadway, Worcestershire
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...
Canvas, Oil
$1,178Sale Price|44% Off
H 23.04 in W 19.49 in
Roman painter - 18th century Bambocciante landscape with travel scenes
Located in Varmo, IT
Roman painter (18th century) - Landscape with Wayfarers. 43.5 x 34.5 cm (without frame) - 58.5 x 49.5 cm (with frame). Oil on canvas, in carved and gilded wooden frame (not signed)...
Canvas, Oil
$8,459Sale Price|20% Off
H 39.38 in W 33.47 in
Queen Sofonisba Portrait Nuvolone Paint 17th Century Oil on canvas Old master
Located in Riva del Garda, IT
Carlo Francesco Nuvolone (Milan 1609 – Milan 1662), attributed The Suicide of Queen Sofonisba Oil on canvas 76 x 60 cm. - In frame 100 x 85 cm. This painting captures the tr...
Oil
$1,945
H 29.34 in W 23.63 in
Antique oil paining, A laughing man with an upturned glass, Dutch golden age
Located in DEVENTER, NL
Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...
Canvas, Oil
Sold
H 57.49 in W 48.04 in D 2.76 in
Portrait of Mary of Modena, when Duchess of York c.1675; Studio of Peter Lely
By Studio of Sir Peter Lely
Located in London, GB
Portrait of Mary of Modena (1658-1718) when Duchess of York c.1675-80 Studio of Sir Peter Lely (1618-80) Presented by Titan Fine Art This attractive po...
Canvas, Oil
Sold
H 35.04 in W 31.11 in D 1.97 in
Portrait of Lady, Grace Saunderson, Viscountess Castleton Oil on canvas Painting
By Studio of Sir Peter Lely
Located in London, GB
Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...
Canvas, Oil
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H 57.09 in W 48.43 in D 3.94 in
Portrait of a Gentleman, William Seymour, 3rd Duke of Somerset, Oil Painting
By Studio of Sir Peter Lely
Located in London, GB
This exquisite portrait, presented by Titan Fine Art, of William Seymour is a product of the studio of the court painter, Sir Peter Lely. The sitter was Duke of Somerset...
Canvas, Oil
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H 51 in W 44 in
17th Century English Oil Painting Portrait of King James II
By Studio of Sir Peter Lely
Located in London, GB
Studio of Sir Peter Lely (1618-1680, English) Portrait of James II (1633-1701), Reigned 1685-88) c.1661-2 Oil on canvas Framed in carved perio...
Canvas, Oil
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H 56.7 in W 47.25 in
Portrait of Catherine Watson, Countess of Rockington (1658-1695)
By Studio of Sir Peter Lely
Located in London, GB
This work formed part of a collection of family pictures and heirlooms of the Smyth Baronets at their magnificent one-thousand-year-old stately home Ashton Court, where they resided for over 400 years. The sitter in this magnificent portrait descended from one of the best and most ancient families in England. From the studio of the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. Titan Fine Art are pleased to present this elegant and beautiful painting, which is a classic example of English Baroque portraiture. Meticulously rendered, the sitter is three quarter length, holding a cluster of flowers. The painting abounds with ingenious flourishes and demonstrations of the painter's skill and superior pictorial technique. It was painted circa 1677 when Lely was at the height of his artistic powers and most likely on the occasion of the sitter’s marriage. Sir Peter Lely’s character and talent dominated the art world in the second half of the seventeenth century in England and everyone of significance sat to him. This elegant portrait of Catherine Watson, Countess of Rockington (1657-1695) portrays her in the finest dress and seated in a rocky outcrop with romantic autumnal landscape beyond. It was a popular pose that Lely used throughout the 1670’s and one which would have been chosen from a selection by the sitter. In line with tradition at the time the portrait was likely painted on the occasion of her marriage in 1677. It was common for more than one portrait to be produced to adorn the walls of the sitter’s various estates or to give to friends and family as gifts. One other version of this portrait is known to exist. Born Lady Catherine Sondes in 1658 to Sir George Sondes, 1st Earl of Feversham KB (1599-1677) and Mary Villiers (d.1688), daughter of Sir William Villiers, of Brooksby. The family of Sondes is found in Throwley, in Kent, as early as the fourteenth century. Catherine, who was the heiress of her father, married Lewis Watson, 3rd Baron Rockingham, later 1st Earl of Rockingham (1655-1724) on 17th July 1677. The Watson family had been settled at Rockingham, Northamptonshire, since the reign of Henry VIII. The family seat still remains - Rockingham Castle. Lewis was the grandson of the infamous Thomas Wentworth, 1st Earl of Strafford (1593-1641) - a major figure in the period leading up to the Civil War). Her father had died three months earlier and there followed an acrimonious court case over the Feversham inheritance, which led to a ruling by the House of Lords in July 1678 that his brother-in-law Louis de Duras, the 2nd Earl (widower of the elder daughter, Lady Mary Sondes d.v.p. in 1676), who had succeeded to the Feversham title by special remainder, should receive £3,000 p.a. for life out of the estates. The 2nd Earl therefore retained these Kentish estates. Lewis Watson succeeded to the Rockingham barony in 1689 and upon the death of the 2nd Earl Feversham in 1709 he finally inherited the remainder of the Feversham estates. By this time, however, Rockingham was already a power in his own right in Kent, having been appointed lord lieutenant of the county in 1705. Even so, the acquisition of the Feversham lands made the Watsons the largest landholders in the county. In 1714, Lewis was created Earl of Rockingham and on his death in 1724, his titles passed to their grandson, Lewis (2nd Earl of Rockingham). Lewis and Catherine’s great...
Canvas, Oil