British Paintings

Pair of extraordinary reverse paintings on glass of St. Mark and St. John. St. Mark has a lion behind him and St. John has a crow to his right holding a feather. Any reverse painti...

Presented is a stunning original painting of a Golden Eagle by British natural history artist William Goodall. A beautiful and colorful combination of both watercolor and ink, this p...

Presented is a stunning original painting of a Ring Tail Eagle by British natural history artist William Goodall. A beautiful and colorful combination of both watercolor and ink, thi...

18th Century painting on porcelain by Matthew William Peters titled ‘Adorational’. Circa 1780. Peters (1742 - 1814) was an English portrait and genre painter who later became an Ang...

This beautiful lady was painted in the mid 18th Century, possibly in London. In the mid 18th Century it was fashionable for elegant ladies to be painted in simple gowns without any j...

These charming portraits are of James Peter Auriol (1713-1771) and his daughter Charlotte Louisa Auriol (1754-1838), who became Mrs. Thomas Dashwood. The Auriol family were a promine...

The grand Georgain oil on canvas portrait stands nearly five feet tall and depicts a handsome middle aged gentleman wearing a wig, a smart dress coat with long waistcoat and white si...

An exceptional quality early 19th century hand painted silk needlework picture of two girls playing with a mask. This very fine quality early 19th century hand painted and a silk wo...

A RARE PAIR OF REVERSE GLASS PRINTS AFTER CLAUDE GELLE called Le Lorrain (c.1600-1682) Circa 1820. Hand coloured aquatint, published and printed by George Dawe RA (6 February 1781 ...

framed late 18th century English hunt scene, oil on canvas, two men take a rest while hunting large hares / rabbits with a pack of hounds (lower left) while another pair of hunters ...

A fine antique miniature portrait painting, John Smart (1741-1811). The painting circa 1780. A very handsome portrait miniature of a young military officer...

English original oil painting on canvas "Retrieving the Grog Before the Storm"; signed lower left: Thomas LUNY; and indistinctly dated--only a "2" is discernable. This dramatic painting depicts ships outward bound while smugglers in the foreground heave their small boat to shore while others roll a barrel of grog to safety. The sea is building while the white cliffs and stone fortress at the entrance to a harbor stand firm against the impending storm. This is quintessential Luny, displaying his deft handling of the ocean and the exposition of coastal life in the early 19th century. We have had this painting cleaned, rebacked and restored by Northeast Painting Conservation, York, Maine. Thomas Luny (1759-1837), was born in Cornwall but moved to London at an early age and was raised there by his parents, Thomas and Elizabeth. Thomas' father is thought to have been employed in some activity at the London Docks and from thence the younger Thomas was exposed to the maritime world from an early age. He is thought to have been apprenticed to the London artist Francis Holman...

English Georgian (18/19th Cent) oil painting portrait of a young British officer with arms crossed wearing a red coat with gold epaulets in a gilt carved frame.  

2 portraits, late 18th century, oil on board.

A fine collection of Five original silhouette portrait miniatures by the Miniaturist painter Dorothy Turton ( 1900 to 1990s). These are all hand painted...

19th Century copy of 18th century portrait of Robert Harley, 1st Earl of Oxford, (born 1661, London, died 1724, London). He was a British statesman who headed the Tory ministry from ...

The picture retains its original gilt frame. The image is rendered in a mixture of silkwork and hand painted decoration and depicts the injured traveler on the roadside being aided by the Samaritan while the Levite and the Priest are seen in the distance. This parable is told by Jesus in the Gospel of Luke. A certain man was going down from Jerusalem to Jericho, and he fell among robbers, who both stripped him and beat him, and departed, leaving him half dead. By chance a certain priest was going down that way. When he saw him, he passed by on the other side. In the same way a Levite also, when he came to the place, and saw him, passed by on the other side. But a certain Samaritan, as he travelled, came where he was. When he saw him, he was moved with compassion, came to him, and bound up his wounds, pouring on oil and wine. He set him on his own animal, and brought him to an inn, and took care of him. On the next day, when he departed, he took out two denarii, gave them to the host, and said to him, 'Take care of him. Whatever you spend beyond that, I will repay you when I return.' Now which of these three do you think seemed to be a neighbor to him who fell among the robbers?" This work is vastly bigger than 19th century silkwork pictures...

A pair of Georgian English 19th century portraits of a gentleman and a woman, oil on canvas, original frame and stretcher, crackle paint (stable condition) typical of older paintings...

English oil on canvas painting of 18th century gentleman holding a portrait of lady within a gilt molded frame (possibly 18th cent).     

Remarkable 18th century oil painting on canvas depicting the portrait of an old gentleman dressed in armour. Very expressive facial features. Unsigned. The detailed frame is 19th cen...

19th century English school of a young officer in a scarlet tunic Oil on canvas, canvas size 48 x 33.5 cm, frame size 44.5 width, 4.5cm in depth, 58cm in height Two elderly re...

Few coach panels survive. This is a striking example with the double headed eagle, gilded armorial and burgundy background. The closest I can find to ar...

Attributed to William Huggins (1820-1884) Head of a Tiger. Bears signature 'W. Huggins' and dated 1875, on the (lower right). Watercolour on paper laid down on board irregula...

Early 19th century oil on canvas of three dogs by well listed British artist James Ward (1769-1859), known for his paintings of horses and dogs...

18th century English noblewoman in a gold gilt ornate period frame. Lovely detail and color, coat of arms in corner. Unsigned. Without the frame the painting itself measures 29 inche...

An extremely true to the original work by Scottish-born artist Sir David Wilkie, (1785–1841) now displayed in the Tate Gallery in London The painting ...

Portrait of Lydia Augusta Allen, English, attributed to artist George Clint, Oil, circa 1835, newly reframed.  

Oil on herringbone canvas copy of Joshua Reynolds’s portrait of the architect Sir William Chambers painted in 1779; the original of which is in the Royal Academy of Arts, London. Thi...

A large oil on canvas depicting a youthful father with his three children, two of which are behind him playing musical instruments, the daughter with her harp and son playing the flute. A third child with his back to the painter faces his father. The painting is presented in a carved and gilded wood frame. Like the great majority of Opie's work, this painting is not signed or stamped. Opie lived at No 8 Berners Street where he moved in 1791, the street famous for artists, composers and instrument makers. Jacob Erat the famous harp maker lived in the neighbourhood and moved to 23 Berners Street before his death in 1821. This painting could be the painting referenced in John Jope Rogers, "Opie and his Work" Truro 1878, Page 220, entitled 'Musical Party'. Provenance: Charles St. George Quechee, Vermont; New England Private Institution; Sotheby's New York April 7, 1989, Lot 1, as John Opie, Portrait of a Gentleman and his three children; Private collection Connecticut. John Opie RA, (May 1761 – 1807), was a Cornish historical and portrait painter. He painted many great men and women of his day, including members of the British Royal Family, and others who were most notable in the artistic and literary professions. Opie's artistic abilities eventually came to the attention of a local physician and satirist, Dr John Wolcot (Peter Pindar). Recognising a great talent, Wolcot became Opie's mentor, buying him out of his apprenticeship and insisting that he come to live at his home in Truro. Wolcot provided invaluable encouragement, advice, tuition and practical help in the advancement of his early career, including obtaining many commissions for work. In 1781, Opie moved to London with Wolcot, having entered into a formal profit-sharing agreement with him. Although Opie had received a considerable artistic education from Wolcot, the doctor chose to present him as a self-taught prodigy. A portrait of a boy shown at the Society of Artists the previous year had been described in the catalogue as "an instance of Genius, not having ever seen a picture." Wolcot introduced the "Cornish wonder" to leading artists, including Sir Joshua Reynolds, who was to compare him to Caravaggio and Velazquez, and to prospective patrons. The business arrangement with Wolcot lasted for a year after which Opie informed the doctor that he now wished to go it alone, leading to the estrangement of the two former partners. Through the influence of a Mrs Boscawen, Wolcot managed to have Opie introduced at the court of King George III. The king purchased one of his pictures and commissioned him to produce a portrait of Mary Delany...

Exceptional English George III period neoclassical memorial or mourning portrait of a gentleman attributed to famed London portraitist Thomas Hudson (1701-1779) depicting 'Edward Lon...

"A Study of the Ruins of a Castle." By: John Claude Nattes (English 1768-1822). Fine original watercolor painting with pencil on paper, inscribed in pencil on reverse, matted and gil...

Late 18th century portrait of a gentleman unframed , English. Joh Rud Kupfer, 1764 age 37 signed on back.

English Oil on canvas Whippet landscape painting in the original gilt burl walnut frame. Early 19th Century