Old Masters Portrait Paintings

Portrait of an Elizabethan Gentleman in a Black Doublet c.1595 Manner of Hieronimo Custodis (died c.1593) Oil on copper This exquisite oil on copper portrait, painted around 430 yea...

This exquisite oil on panel portrait, depicts a young lady wearing the most elaborate and costly items of the period - the Dutch coif or coronet of sheer lawn with lace, the lavishly embroidered stomacher, and the exquisite ‘molensteenkraag’ or millstone collar, made of batiste fabric. These items were worn by the wealthy individuals in society. The collar itself often requiring over 15 metres of fabric and an incredible effort to maintain. The whiteness of her skin serves as a marker of her social background and status, highlighting how physical appearance can often play a significant role in how individuals were perceived in society. This portrait shows the precise, meticulously crafted, style for which the artist became well-known and is a fine example in its description of the sitter’s character and the careful reproduction of the face and fabrics. The well-preserved condition provides a unique opportunity for us to admire the intricacy and details of the attire that may not always be possible in portraits from a similar age. The dark pigments used to depict the expensive black silk, along with the intricate lace, have remarkably stood the test of time, allowing us to appreciate the craftsmanship and artistry that went into creating them four hundred years ago. The gold pin worn in her hair on her left side indicates that she was engaged when the portrait was painted; married women wore the ‘betrothal pin’ on their right side. Like rhetoricians, seventeenth-century artists were bound by rules and expectations for proper decorum, even in matters of dress. Costume was carefully chosen to suit the ideals of a particular culture or sitter and was used to convey a multitude of meanings. Knowledge of its associations and the history of costume can be crucial to the interpretation of portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still lifes of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The large group portrait is also a standard subject often of a civic organisation. The new wealthy class were keen to have their portraits commissioned and thus many artists worked in this lucrative genre. This portrait was in the famous collection of Dr. Paul Viktorovich Delaroff (1852-1913) who was a legal advisor based in St. Petersburg and Pavlovsk. He was the son of a Russian army general, he attended the Imperial School of St. Petersburg, earned a doctorate in law, and later taught civil law at the University of Kharkiv. However, he soon left academia to serve as an advisor at the Ministry of Public Works and eventually became a privy councillor to His Majesty the Emperor of Russia. Delaroff dedicated much of his life to the study of painting and engaged in art dealing on a large scale. Known for his charm and engaging conversation, he was a man of remarkable vitality. His extensive network enabled him to make several advantageous purchases and helped reignite interest in the Dutch school among Russian art enthusiasts. He amassed a vast collection of paintings, with some of his finest pieces loaned to museums in The Hague, Leiden, Berlin, and elsewhere. His impressive gallery of old master paintings was sold at auction in Paris during two sales in 1914, the first held on April 23-24, and the second from April 27 to May 2. Contained within a good quality period frame. Cornelis van der Voort, or van der Voorde (circa 1576 – circa 1624), was a distinguished Dutch portrait painter, art collector, art appraiser, and art dealer active during the early 17th century in Amsterdam. His oeuvre includes both individual and group portraits, notably the 'schuttersstukken' which portray members of local militias, and 'regentenstukken' depicting the regents of charitable institutions—a genre he notably pioneered. Van der Voort's contributions were instrumental in the evolution of portrait painting within the early 17th-century Dutch Republic, and he is particularly acclaimed for his introduction of the life-size, full-length format to the practice of Dutch portraiture. His oeuvre was highly sought after and regarded with great reverence. He significantly impacted the early portraiture of Rembrandt, as well as the works of Nicolaes Eliasz, Pickenoy, and Thomas de Keyser...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

Portrait of a Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Provenanc...

Portrait of a Young Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Pro...

The Jewish Bridge antique Dutch School, after the 1660's oil painting by Rembrandt (Rijksmuseum, Amsterdam) oil painting on canvas, framed in its antique gilt frame with ornate mould...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

17th century Flemish Old master painting "The Rest on the flight into Egypt", Victor Wolfvoet the Younger Amidst a serene landscape, the Holy Family rests beneath the shade of a spr...

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...

The Madonna and Christ Child English School, 19th century after the earlier painting by Sir Anthony van Dyck oil on canvas, framed in fine elaborate gilt frame. Framed: 49 x 39.5 in...

David Morier (c.1705–1770 London) An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier (1680–1770) Oil on canvas Canvas size - 40 x 50 in Framed size - 48 ...

This evocative 19th-century painting is the work of a follower of the Dutch Golden Age artist Jacob Toorenvliet, known for his finely rendered genre scenes. Titled Man Holding a Jug ...

Madonna and Child English Old Master, c. 1800 oil on canvas, unframed (relined canvas) Canvas: 14.5 x 12 inches Provenance: private collection, UK Condition: very good condition De...

The Mona Lisa after Leonardo da Vinci French artist, 20th century oil on canvas, unframed canvas: 24 x 18 inches provenance: private collection, Paris condition: good and sound condi...

The Assumption of the Virgin Italian artist, 18th century based on the earlier composition by Murillo oil on canvas, framed framed: 38 x 30.5 inches canvas: 32 x 24 inches provenance...

Allegorical Scene - Giovanni Faliero Italia 2009 - Oil on canvas cm. 90x110. Gold leaf gilded wooden frame available on request This beautiful oil on canvas is the personal reinterpretation of the magnificent painting “Bacchant playing the Cymbals” by Jean-Simon Berthélemy, a French painter of the 18th century. Here we admire a mythological scene showing a naked bacchant playing cymbals next to a wooded stream, with a small sleeping faun...

This exquisite Grand Manner work, presented by Titan Fine Art, is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully ...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

The Young Shepherd English School, 18th century circle of Sir Joshua Reynolds oil on canvas, unframed Canvas: 30 x 25 inches Provenance: Private collection Condition: very good condi...

King Charles I British artist, early 20th century signed with initials oil on canvas, framed framed: 36 x 29 inches canvas: 32 x 26 inches provenance: p...

Portrait of a Gentleman wearing a Ruff Collar Dutch/ French artist, 18th century oil painting on copper, unframed copper board : 6.75 x 5 inches provenance: private collection, UK co...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

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...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm. in a small temple frame 75 x 55 cm This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch...

Artist/ School: Italian Old Master, 18th century Title: Angel and Saints appearing to figures, one dressed in a white ruff collar. Medium: oil on canvas...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

This exquisite portrait, presented by Titan Fine Art, is by Michael Dahl; it was part of the extensive collection owned by Thomas Wyndham of Clearwell Court in Gloucestershire. It ma...

Portrait of Frances, Viscountess Scudamore in a Silver Dress and Blue Cloak c.1709-1719 By Charles Jervas (1675-1739) This elegant and graceful portrait, presented by Titan Fine Ar...

Charming work in the Regency style, mid 19th Century after Sir Thomas Lawrence. High quality painting. Old Christie's Stencil to verso. Would grace any home, suitable for contempor...

Artist/ School: Italian School, 19th century Title: Classical nude draped in robes with dancing dog. The work looks as though it might have been a ceiling...

Portrait of a Gentleman wearing white lace trim collar Flemish School, circa 1630's circle of Anthony van Dyck (Flemish 1599-1641) oil on canvas, unframed Canvas: 30.5 x 25 inches Pr...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

Biblical Figures, Large Gathering around Christ? Dutch Old Master, early 17th century oil painting on wood panel, stuck on velvet backing board velvet board: 27 x 29 inches board: 25.5 x 26 inches provenance: private collection, France condition: good and sound condition, obvious old panel...

Anthoon van Dyck (Antwerp 1599 - London 1641) workshop Christ Carrying the Cross - 17th century Oil on canvas (120 x 94 cm - framed 140 x 112 cm). This remarkable canvas, depic...

Portrait of a Lady, traditionally believed to be Bridget Bertie (1629-1703/4), the Duchess of Leeds, three quarter length, wearing an amber coloured silk gown, with an embroidered bl...

Saint Michael Archangel Guido Reni (Bologna 1575 - 1642) Workshop/Follower of 17th-18th century Oil on canvas (104 x 68 cm. - In frame 109 x 68 cm.) This high quality painting is b...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

Commodo - Maximilian Ciccone - Italia - Oil on canvas, portrait of Roman Emperor Commodo.Mis. cm. 210x120-

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

This finely executed oil painting, attributed to the circle of Christian Wilhelm Ernst Dietrich, captures the contemplative expression of an elderly man, his gaze lowered in quiet re...

Commodo - Maximilian Ciccone - Italia - Oil on canvas, portrait of Roman Emperor Commodo.Mis. cm. 210x120-

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...

A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

Girl with kitten - Giulio Di Sotto Italia 2008 - Oil on canvas cm. 60x50 Frame available on request from our workshop. This painting is Giulio Di Sotto’s personal reinterpretation of the 19th century French painter Jules Frédéric Ballavoine...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

This exquisite oil on panel portrait, depicts a young lady wearing the most elaborate and costly items of the period - the Dutch coif or coronet of sheer lawn with lace, the lavishly embroidered stomacher, and the exquisite ‘molensteenkraag’ or millstone collar, made of batiste fabric. These items were worn by the wealthy individuals in society. The collar itself often requiring over 15 metres of fabric and an incredible effort to maintain. The whiteness of her skin serves as a marker of her social background and status, highlighting how physical appearance can often play a significant role in how individuals were perceived in society. This portrait shows the precise, meticulously crafted, style for which the artist became well-known and is a fine example in its description of the sitter’s character and the careful reproduction of the face and fabrics. The well-preserved condition provides a unique opportunity for us to admire the intricacy and details of the attire that may not always be possible in portraits from a similar age. The dark pigments used to depict the expensive black silk, along with the intricate lace, have remarkably stood the test of time, allowing us to appreciate the craftsmanship and artistry that went into creating them four hundred years ago. The gold pin worn in her hair on her left side indicates that she was engaged when the portrait was painted; married women wore the ‘betrothal pin’ on their right side. Like rhetoricians, seventeenth-century artists were bound by rules and expectations for proper decorum, even in matters of dress. Costume was carefully chosen to suit the ideals of a particular culture or sitter and was used to convey a multitude of meanings. Knowledge of its associations and the history of costume can be crucial to the interpretation of portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still lifes of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The large group portrait is also a standard subject often of a civic organisation. The new wealthy class were keen to have their portraits commissioned and thus many artists worked in this lucrative genre. This portrait was in the famous collection of Dr. Paul Viktorovich Delaroff (1852-1913) who was a legal advisor based in St. Petersburg and Pavlovsk. He was the son of a Russian army general, he attended the Imperial School of St. Petersburg, earned a doctorate in law, and later taught civil law at the University of Kharkiv. However, he soon left academia to serve as an advisor at the Ministry of Public Works and eventually became a privy councillor to His Majesty the Emperor of Russia. Delaroff dedicated much of his life to the study of painting and engaged in art dealing on a large scale. Known for his charm and engaging conversation, he was a man of remarkable vitality. His extensive network enabled him to make several advantageous purchases and helped reignite interest in the Dutch school among Russian art enthusiasts. He amassed a vast collection of paintings, with some of his finest pieces loaned to museums in The Hague, Leiden, Berlin, and elsewhere. His impressive gallery of old master paintings was sold at auction in Paris during two sales in 1914, the first held on April 23-24, and the second from April 27 to May 2. Contained within a good quality period frame. Cornelis van der Voort, or van der Voorde (circa 1576 – circa 1624), was a distinguished Dutch portrait painter, art collector, art appraiser, and art dealer active during the early 17th century in Amsterdam. His oeuvre includes both individual and group portraits, notably the 'schuttersstukken' which portray members of local militias, and 'regentenstukken' depicting the regents of charitable institutions—a genre he notably pioneered. Van der Voort's contributions were instrumental in the evolution of portrait painting within the early 17th-century Dutch Republic, and he is particularly acclaimed for his introduction of the life-size, full-length format to the practice of Dutch portraiture. His oeuvre was highly sought after and regarded with great reverence. He significantly impacted the early portraiture of Rembrandt, as well as the works of Nicolaes Eliasz, Pickenoy, and Thomas de Keyser...

Work on wood Plaster and gilded wood frame 47 x 40.5 x 6 cm

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

This stunning Flemish Old Master portrait oil painting is attributed to circle of Anthony Van Dyck. Painted circa 1630, the sitter is Frances Stewart née Howard (1578 -1639) Duchess ...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Dutch School. Oil on canvas Dutch School. Circle of Peter Nason (Amsterdam, 1612 - 1690 The Hague). Portrait of a military commander in armor with a marshal's staff. In the portrait of the illustrious general Raimondo Montecuccoli, it can be observed that he still appears without the Order of the Golden Toson. This detail suggests that the portrait could be dated before 1664. Raimondo Montecuccoli was a famous general and military strategist of the 17th century in the service of the Habsburg Empire. Born in 1609 in Italy, Montecuccoli fought in numerous European wars, distinguishing himself for his tactical and strategic abilities. He is best known for his victories during the Thirty Years' War and the war against the Turks. Montecuccoli is also remembered for his writings on military theory, which influenced subsequent generations of commanders. He died in 1680. Montecuccoli came from a noble Italian family but chose to pursue a military career in the service of the Habsburg Empire. He studied in Vienna and fought in numerous battles and military campaigns, earning the trust of Emperor Leopold I. Montecuccoli was known for his discipline, his ability to adapt to situations on the battlefield, and his skill in leading troops with cunning and determination. Montecuccoli fought in many significant battles during the Thirty Years' War and the wars against the Turks. Some of his most famous battles include the Battle of Lens in 1648, where he achieved a decisive victory against French forces, and the Battle of Vezekény in 1664, where he defeated the Ottoman army. He faced adversaries such as the renowned French general Turenne and the great Turkish commander Kara Mustafa...

Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches (38.1 x 3...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

English 19th century portrait of a White / Grey hunter in a stable. Charles Towne was born in Wigan in 1763. He was trained as a coach painter, and by ...

Painter active in Rome in the early 17th century Susanna and the Old Men Oil on canvas 76 x 62 cm. with frame 92 x 78 cm. This valuable painting illustrates the piquant episode, ta...

This superb Dutch Old Master portrait oil painting is attributed as by a follower of Dutch 17th century artist Gerrard van Honthorst. The original of this painting hangs in Wilton House, Wiltshire, home to the 18th Earl and Countess of Pembrokeshire. The painting was previously attributed to Van Dyck by early cataloguers, but after exhaustive comparisons with the two Honthorst brothers' works, it was concluded that Gerrard van Honthorst was the artist who painted the original in Wilton House. Our painting was painted circa 1695 by a follower of Gerrard Honthorst. It was sold to us as circle of Cornelius Johnson. The sitter is Prince Rupert of the Rhine, Duke of Cumberland, Earl of Holderness (1619-1682). He was an English army officer, admiral, scientist, and colonial governor. He first came to prominence as a Royalist cavalry commander during the English Civil War. Rupert was the third son of the German...

Saint Michael the Archangel victorious over the Devil Tuscany - 16th century Oil on canvas 68 x 52 cm. - In frame 97 x 78 cm. Of great character is this interesting St. Michael the...

Jan van Gelder, Italianised as Giovanni Vangheldri (Antwerp 1621 – Modena 1685) Portrait of the Duchess Vittoria Farnese d'Este (Parma, 1618 – Modena, 1649) wife of Francesco I d'E...

This stunning Italian Baroque Old Master portrait oil painting is attributed to the circle of Guercino, Giovanni Francesco Barbieri (1591 - 1666) and it is ascribed verso. The paint...

La obra no va firmada La obra se presenta enmarcada con un marco de la época de la pintura (el marco presenta alguna leve falta) Medidas de la obra: 59 cm. de altura x 48 cm. de an...

A Superb pair of oval portraits with full provenance. Portrait of John Wood Esq of Hollin Hall, Yorkshire; Portrait of Francis Wood. Circa 1710. Oils on canvas:29 x 24 in. Frame: 37...

Michiel Jansz van Mierevelt (Delft 1566 - 1641) circle Portrait of a gentleman in dark suit with ruff, aged fifty-nine, 1624 Top right family crest, age of the sitter ‘59’, and the d...