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.
$16,303
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
$2,784
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
$7,064
H 26.25 in W 21.63 in D 1 in
French School, 17th Century, 'Portrait of the Marquise de Grugieres', oil canvas
Located in Petworth, West Sussex
French school, 17th Century Portrait of the Marquise de Grugieres Oil on canvas 26.1/4 x 21.5/8 in. (66.7 x 54.8 cm.) In a gilded composite frame, later production (possible early 1...
Canvas, Oil
$8,975Sale Price|30% Off
H 40.56 in W 34.26 in
Portrait Lady Pulzone Paint Oil on canvas Old master 16th Century Italian Roma
Located in Riva del Garda, IT
Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) - workshop of Portrait of Bianca Cappello (Venice, 1548 - 1587) Grand Duchess of Tuscany, second wife of Francesco I de 'Medici Second half of the 16th century oil on canvas, cm. 70 x 56 cm., Framed 103 x 87 cm. The proposed painting illustrates the portrait of Bianca Cappello (Venice, 1548 - 1587), a noblewoman of Venetian origins, second wife of the Grand Duke of Tuscany Francesco I de 'Medici, whose expressive power is wisely highlighted by the composite cut of light three quarters, with the head and gaze directed at the observer. The beam of light coming from her right brings out the volumes of her face plastically and lingers on her features, highlighted by the large white lace ruff that surrounds his neck and by the details of her precious clothing. Bianca wears a dark red dress, perhaps a zimarra, embroidered in gold with a plunging neckline and a raised collar of the shirt curled in a ruff and also edged with precious lace, embroidered with the motif of the Florentine lily. The favorite jewels of the noblewoman were pearls: we see them on a choker that adorns the neckline, in the earrings and again in the hairstyle, which sees the hair gathered at the nape of the neck and adorned with a string of small black pearls and embellished with a clasp. It is a high-quality painting that can be confined to the workshop of the painter Scipione Pulzone called Gaetano, representing at best a pictorial genre, that of portraiture, in which the master excelled. This attribution would be confirmed by comparisons with the numerous portraits that Pulzone dedicated to the Medici family. Our painting, in particular, could represent one of the versions that the workshop has replicated, at the request of the numerous art collectors who wish to have a portrait of one of the most influential personalities of the Florentine scene. The characters drawn by Pulzone were icons of incomparable elegance: noblewomen, knights and religious lent their faces to the eye of the artist who was able to grasp every meticulous detail with his superb technique. A photographic wealth and surprising material attention that trace the pictorial prototypes of Flemish inspiration, in particular of Antonis Mor...
Oil
$8,703
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
$5,000
H 30 in W 25 in
Juliet and her Nurse..., Oil Painting on Canvas by Henry Perronet Briggs
By Henry Perronet Briggs
Located in Long Island City, NY
Artist: Henry Perronet Briggs, Attributed to, English (1793 - 1844) Title: Juliet and Her Nurse with the Page Peter from Shakespeare's Romeo and Juliet Year: circa 1820 Medium: Oil o...
Canvas, Oil
$2,901Sale Price|28% Off
H 52.37 in W 33.86 in
Flemish painter in Italy - 17th century religious painting - Baptism Christ
Located in Varmo, IT
Flemish painter active in Italy (17th century) - Baptism of Christ. 122 x 74 cm (without frame) - 133 x 86 cm (with frame). Oil on canvas, in a wooden frame (not signed). The scen...
Oil, Canvas
$16,292Sale Price|20% Off
H 47.25 in W 59.85 in
Saint John Baptist Pombioli Paint 17th Century Oil on canvas Old master Italy
Located in Riva del Garda, IT
Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'...
Oil
$6,999Sale Price|20% Off
H 39.38 in W 31.11 in
Saint Sebastian Crespi Paint 17th Century Oil on canvas Old master Religious
Located in Riva del Garda, IT
Early 17th-century Lombard painter Daniele Crespi (Busto Arsizio, 1597-1600 – Milan 1630), Circle of Saint Sebastian oil on canvas Dimensions: 82 x 60 cm. In frame 100 x 7...
Oil
$29,567Sale Price|30% Off
H 53.55 in W 66.93 in
Venus Paolo Fiammingo Paint Oil on canvas Old master 16th Century Italian Art
Located in Riva del Garda, IT
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...
Oil
$21,467
H 31.89 in W 25.6 in D 0.4 in
18th century French Old Master Portrait of a woman in oriental costume
Located in Aartselaar, BE
French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...
Canvas, Oil
$8,327Sale Price|20% Off
H 37.01 in W 27.96 in
Angel Annunciation Paint 17th Century Oil on canvas Old master Tuscany school
Located in Riva del Garda, IT
Seventeenth-century Tuscan painter Angel of the Annunciation Oil on canvas 52 x 74.5 cm Framed 94 x 71 cm The work on offer, characterised by a refined sacredness, depicts...
Oil
Girl leaning on a pedestal
By Joshua Reynolds
Located in Stoke, Hampshire
After Joshua Reynolds Girl leaning on a pedestal Oil on canvas Canvas Size - 26 x 33 in Framed Size - 39 x 32 in Sir Joshua Reynolds was the leading portrait painter of 18th-century...
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
Sold
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
Sold
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
Sold
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