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.
$16,499
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
$22,649Sale Price|20% Off
H 57.49 in W 47.64 in
Portrait Noblewoman Kneller 17/18th Century Paint Oil on canvas Old master Art
Located in Riva del Garda, IT
Godfrey Kneller (Lübeck 1646 – London 1723) Portrait of an English noblewoman, presumably Mary Capel, Countess of Essex (1679–1726) Oil on canvas 128 x 104 cm. In frame 146 x...
Oil
$23,874Sale Price|20% Off
H 42.92 in W 37.01 in
Madonna Child Del Sarto Paint Oil on table 16th Century Old master
Located in Riva del Garda, IT
Madonna and Child Workshop of Andrea del Sarto, pseudonym of Andrea d'Agnolo di Francesco (Florence 1486 - 1530) Attributable to Jacopo di Giovanni di Francesco, known as Jacone (...
Oil
$10,529Sale Price|20% Off
H 33.86 in W 40.16 in
Pietà Cherubs Paint Oil on canvas Religious Rome 16/17th Century Michelangelo
Located in Riva del Garda, IT
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...
Oil
$3,155
H 36 in W 31.5 in
Mid-18th-Century German School, Portrait Of An Aristocrat In Armour, Oil
Located in Cheltenham, GB
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...
Oil, Canvas
$13,955
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
$76,519
H 14 in W 11.8 in
Two royal portraits (the Duc d'Angoulême and the Duc de Berry) by H.P. Danloux
Located in PARIS, FR
These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...
Canvas, Oil, Wood Panel
$4,606
H 10.44 in W 9.26 in D 1.19 in
Portrait of Lady, Maria Therese of Spain, Queen of France, 17th Century Panel
Located in London, GB
Portrait of Maria Therese of Spain, Queen of France, 17th Century Circle of Henri and Charles Beaubrun Not signed This distinguished seventeenth-century portrait of Maria Theresa o...
Oil, Wood Panel
$7,835Sale Price|20% Off
H 49.22 in W 44.89 in
Conversion Saint Paul Antonio Tempesta Paint 17th Century Oil on canvas Italy
Located in Riva del Garda, IT
Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the e...
Oil
$5,509Sale Price|20% Off
H 11.03 in W 9.45 in
Saint Jerome Oil on copper 16th Century Paint Old master Italy Emilian school
By Giuseppe Mazzuoli known as Bastarolo (Ferrara 1536 - 1589)
Located in Riva del Garda, IT
Ferrara school of the late sixteenth century - circle of Giuseppe Mazzuoli known as Bastarolo (Ferrara 1536 - 1589) St. Jerome penitent in the cave ...
Oil
$4,708
H 28.35 in W 32.68 in D 1.58 in
Late XIX Century Italian Church Interior
Located in Roma, IT
A beautiful oil painting on canvas from the second half of the 19th century. It depicts a church interior with rare intensity. The attention to detail, the quality of the brushwork, ...
Canvas, Oil
$9,672Sale Price|20% Off
H 44.1 in W 33.47 in
Christ Carrying Cross Coxie Paint 16/17th Century Oil on table Old master Art
Located in Riva del Garda, IT
Michael Coxie (Mechelen, 1499 – Mechelen, 1592) Workshop of Christ Carrying the Cross Oil on panel 85 x 57 cm. – framed 112 x 85 cm. The painting on offer, by an artist fro...
Oil
$4,285Sale Price|20% Off
H 29.14 in W 22.84 in
Saint John Baptist Venusti Paint 16th Century Oil on canvas Old master Italy Art
Located in Riva del Garda, IT
Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. - In frame 74 x 58 cm.) The work depicts Saint John...
Oil
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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
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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
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
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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