Items Similar to Signed Portrait of a Young Lady in a White Dress 1840’s, Oil Painting on canvas
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Heinrich BeltzSigned Portrait of a Young Lady in a White Dress 1840’s, Oil Painting on canvas1840's
1840's
About the Item
Titan Fine Art are pleased to present this exquisite portrait. As much attention is paid to the woman's luxurious apparel as her facial features. The fabrics are defined with lightness and dexterity and the clear fresh palette and the striking eyes are exquisite. Rendered with precision – the artist’s skill is almost of that of a miniaturist painter.
It is a fine representation of female beauty, which was a popular subject in the 19th Century. For the first time, large numbers of pictures were painted whose sole raison d’être was a depiction of such beauty; not so much in the form of specific portraiture, but more as a homage to feminine beauty in its own right. Many artists worked in this lucrative genre.
The portrait can be dated to the 1840s based on the low and sloping shoulders and the low pointed waist, and also the hairstyle with the centre part and ringlets at the side of the head. A feature of this portrait is its remarkable original condition having not undergone a lining process (or requirement for one). This is testimony to the wonderful care that the painting has received over its lifetime.
Held in its original gilded swept frame.
- Creator:Heinrich Beltz (1801 - 1869)
- Creation Year:1840's
- Dimensions:Height: 16.93 in (43 cm)Width: 13.78 in (35 cm)Depth: 1.58 in (4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:In very good condition. This painting has passed a strict quality and condition assessment by a professional conservator prior to going on sale. It can be hung and enjoyed immediately.
- Gallery Location:London, GB
- Reference Number:1stDibs: LU119916855682
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1998
1stDibs seller since 2019
31 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Portrait of Young Gentleman, Lord George Douglas, Arcadian Landscape c.1710Located in London, GBPortrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...Category
18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of Lady Anne Tipping née Cheke c.1705, English Aristocratic CollectionBy Kneller GodfreyLocated in London, GBTitan Fine Art present this exquisite portrait, that formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Reg...Category
18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of a Gentleman in Armour and Mauve Cloak c.1740; Louis Tocque, PaintingLocated in London, GBThe sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...Category
18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait Painting of Lady Mary Capel, Countess of Essex in a Yellow Dress c.1698By Sir Godfrey KnellerLocated in London, GBThis portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...Category
17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of Gentleman in Lace Cravat & Armour 1680’s Painting, Fine Carved FrameBy (circle of) Pierre MignardLocated in London, GBTitan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Portrait of a Lady, Marie-Madeleine de Chamillart, Oil on Canvas PaintingLocated in London, GBThis work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...Category
18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
You May Also Like
- Late 19th Century genre portrait oil painting of a boy holding a lanternBy Charles SpencelayhLocated in Moreton-In-Marsh, GloucestershireCharles Spencelayh British, (1865-1958) The Lantern Oil on canvas, signed Image size: 13.5 inches x 9.75 inches Size including frame: 20.25 inches ...Category
Late 19th Century Victorian Figurative Paintings
MaterialsCanvas, Oil
- Early 19th Century genre oil painting of a boy playing a fluteLocated in Moreton-In-Marsh, GloucestershireAttributed to Thomas Barker of Bath British, (1769-1847) Boy with Flute Oil on canvas Image size: 17.5 inches x 13.5 inches Size including frame: 26.75...Category
Early 19th Century Victorian Portrait Paintings
MaterialsCanvas, Oil
- 19th Century portrait oil painting of an Italian maidenBy Pierre-Louis-Joseph de ConinckLocated in Moreton-In-Marsh, GloucestershirePierre Louis Joseph De Coninck French, (1828-1910) The Coral Necklace Oil on canvas, signed Image size: 31 inches x 23 inches Size including frame: 38 inches x 30 inches Pierre Loui...Category
19th Century Victorian Portrait Paintings
MaterialsCanvas, Oil
- Portrait of An Early 1900's Lady by Timoleon Marie LobrichonBy Timoleon Marie LobrichonLocated in New York, NYA large and striking female portrait titled "Red Umbrella" by Timoleon Marie Lobrichon (French, 1831-1914) This darling young woman portrait wearing an early 1900's light pink and green satin dress. Her delicate and beautifully rendered hands reach into the light as her face and upper body are carefully shaded by the lush greenery around her. A half moon brooch...Category
Early 20th Century Victorian Portrait Paintings
MaterialsCanvas, Oil
- Antique 19th century English portrait two Bull Dogs in a yard.By John Frederick Herring Sr.Located in Woodbury, CTA wonderful 19th century portrait of two Bull dogs in a barnyard. Artist Bio: Herring was born on 12 September 1795 in Blackfriars, London, the eldest of nine children of Benjamin Herring...Category
1840s Victorian Animal Paintings
MaterialsCanvas, Oil
- 19th century British portrait of Sir Charles Dickens seated in an interiorBy Daniel MacliseLocated in Woodbury, CTWell painted 19th-century portrait of Sir Charles Dickens. The original painting is in the National Gallery in London and I'm sure this piece would have been painted by a fan of the author who was also a very good artist as this piece is a very good copy of the original painting. There was a great fashion to paint copies of famous paintings during the 19th century and most of the world's most famous paintings have been copied many times. Often the artist who does the copy is very talented but usually anonymous With this piece, it's the only way to own an antique copy...Category
1870s Victorian Portrait Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Painting Antique White
Antique Paintings And Portraits
Antique 19th Century Portrait
Antique Painting S
Antique White Dress
Antique White Dresses
Antique Victorian Dress Dresses
Antique Dress Form
Dress Forms Antique
Antique Dress Forms
Dress Form Antique
Antique Painted Canvas Large
19th Century Antique Portrait Painting
Antique Head Dress
19th Century Painting Of A Lady
Antique Painting Of A Woman
Antique Gilded Framed Paintings
Gilded Art Large Frames