England - Portrait Paintings

Young Girl with her Pet Dog By Hans Fieldler, German, 1933 Oil painting on board, framed Signed and dated '33' (1933) on the top left corner Painting size: 18 x 15 inches Endearing impressionist oil painting of a little German girl...

A copy of the self portrait of William Hogarth with his dog, called Trump. A fantastic quality image possibly from Hogarth's original school of art. This piece is titled, dated and monogrammed. It is in an antique, period Louis XIV style frame. The painting measures 36 x 28" (92 x 72cm) Outside Frame Size: 45 x 37" (104 x 94cm) Hogarth began this self-portrait in the mid-1730s. Initially Hogarth painted himself wearing a formal coat...

The painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...

In this dynamic self portrait, the artist captures himself sporting a yellow bobble hat. The yellow is reflected in the striking background of pink strikes and yellow circles. Unsign...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inches x...

Robert Frain active 1829-1877, was a Scottish painter. There is very little biographical information regarding Frain, however he was active in the first quarter to the third quarter ...

This lovely British Art Deco portrait oil painting is by noted artist James Robert Granville Exley and provenance is by family descent. The sitter is Elizabeth Exley, possibly his wi...

A stylish portrait completed in the style of Tamara de Lempicka. The subject of the portrait is a striking young woman with long black hair and piercing blue eyes. Unsigned. On canva...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped to the reverse Image : 12.75 x 9.5 inches Overall size: 25 5 x 19.75 inches Superbl...

Unsigned. On unstretched canvas.

This superb British portrait oil painting is by noted artist Alfred Kinglsey Lawrence. Painted in 1919 it is a seated portrait of a young woman with a lush burgundy velvet curtain be...

Brown earth tone contemporary figurative painting of 3 femail figures by Moroccan artist Said Housbane. Acrylic on canvas. Size: 56 x 60 inches. Offered in wood frame. Said Housbane...

Sybil, 18th Century Italian School - After Guido Reni Large 18th Century Italian Old Master depiction of a Sybil (Apollonian Oracle / Prophetess), oil on canvas. Beautiful quality ...

Oil Painting by Frank Moss Bennett "Portrait of John, Annabella and Augusta Annesley" 1874 - 1955 Popular painter of figurative scenes. Studied at the...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

This stunning British Victorian portrait oil painting is by noted female artist Annie Louisa Swynnerton. The sitter is Emma Woods, nee King (1806-1896). Emma was the wife of Samuel ...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

George Weissbort (1928-2013) - Mid 20th Century Oil, The Artist At Work

This lovely 18th century Old Master portrait oil painting is by noted British artist Francis Cotes. It was painted circa 1760 when Cotes was preferring oil as a medium and comparison...

Two Figures by Bernard Labbe (French mid 20th century), stamped verso original oil painting on artist paper overall size: 21 x 25.5 inches condition: very good and ready to be enjoye...

Charles d’Agar (1669-1723) (attrib.) Portrait of a lady in widow’s weeds, three-quarter-length, seated in an architectural setting Oil on canvas In an original carved and gilded Le...

'Lungomare Le sain' Suzanne Vattier, French 1901-1996 signed and dated on back 1973 inscribed verso gouache painting on artist paper, framed size: 19.5 x 25.5 inches Fabulous 1970s...

Girl with the Gun, Stylised Portrait, Signed Oil Painting by Larissa Ickx, Belgian 20th century Signed on the lower right hand corner Oil painting on canvas, unframed Canvas size: 47...

Philip Westcott 1815-1878, was a British born artist. This portrait is of the former Prime Minister Charles Grey 2nd Earl of the House of Howick, he was Prime Minister from 1830 to ...

A beautiful oil study of a Turkish performer playing folk music on the Oud. The lady wears an elegant wrap skirt with floral motifs, matched with a colourful waistcoat and silk blous...

A stunning portrait of Mr John Gilbert. This original oil on canvas was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A fine portrait, it is in excellent condition and framed in the original period frame. This is a fine painting by a noted Australian listed artist. Signed right. Provenance. Exhibited at the Paris salon 1929. Condition. Oil on canvas in very good condition, image size 40 inches by 30 inches. Housed in its original gallery frame, 47 by 37 inches framed. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne. He was the third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

A striking study of a woman a seated woman in a bold pose. Signed with a monogram to the lower right. On board.

A striking contemporary work in oil, attributed to Paul W. Ozere. Unsigned. Presented in a white painted distressed wooden frame. On board.

This intimate portrait captures a tender moment between a young girl and her baby sister. The baby is placed in a cot while the older girl entertains her with a rattle. The artist dr...

This lovely French Old Master portrait oil painting is attributed to the circle of Jean Auguste Dominique Ingres. Painted circa 1810 it is a head and shoulders profile of a beautiful woman, resting her head on one hand. There is superb attention to detail and vibrant colouring. An excellent example of a French Old Master portrait of the period. Unsigned. Provenance. London estate. Condition. Oil on canvas, 15 inches by 12 inches unframed and in good condition. Frame. Housed in a gilt frame, 20 inches by 17 inches framed and in good condition. Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. He was finally recognized at the Salon in 1824, when his Raphaelesque painting of the Vow of Louis XIII was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur...

'The Feather Boa,' a large oil painting of Miss Crofton by Herbert Sidney British, 1901 Frame: height 193cm, width 115cm, depth 6cm Canvas: height 143, width 77cm, depth 3cm By the British artist Herbert Sidney, (1858-1923), this remarkable full length portrait also titled 'The Feather Boa,' depicts Miss Alice...

Portrait Of Lucas Cranach The Elder (1472-1553), 16th Century German Renaissance School Large 16th Century German School portrait identified as Lucas Cranach The Elder, oil on canv...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

Bride & Lily by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 21.5 x 18 inches condition: overall very good, minor surface scuffs ...

18th century portrait painting of a clergyman Pieter Van Bleeck (follower) (unsigned) A fine late 18th century/early 19th century portrait oil on canvas three quarter length study of a clergyman The artist has managed to capture the gentle demeanour of the sitter. housed in a gilt frame by a follower of Pieter Van Bleeck the size being 58 x 69 cm approx whilst overall the picture is 76 x 90 cm In very good condition having been cleaned and relined at some point. Pieter Van Bleeck Petrus Johannes (Pieter) van Bleeck (baptized 25 June 1697 in The Hague – 20 July 1764 in London) was an 18th century Dutch portrait painter and mezzotint engraver active in London, where he moved in 1723. Van Bleeck is especially known for theatrical subjects such as Owen Swiny, Kitty Clive...

A charming oil study depicting two figures standing by the tall ionic columns of what appears to the the British Museum. Signed to the lower right and inscribed 'triptych' to the rev...

"A Room with a View" by Geneviève Zondervan (French 1922-2013) oil painting on board, stamped verso board: 8.5 x 10.5 inches Original oil painting on board by the French artist, Ge...

It's long believed that "the machine" is capitalism and the oppressive structures at the highest levels of society. Renegade artist Basquiat became drawn into this machine and became...

The Ballroom

Benjamin Herring Snr (British, 1830-1871) Saddled bay hunter 1863 Oil on canvas With old Christie's stencil verso Property of a gentleman From the collection of Peter Roe Dimension...

From the 'Petite Portraits' series,' Hello Sailor' is a contemporary portrait with a dose of vintage charm. A small work with a big presence painted in acrylic paint and complemented...

Boys in Blue French School, Mid 20th century Oil painting on board, framed Signed on the lower right hand corner Framed size: 34.5 x 23 inches This artist was clearly inspired by Pi...

Vintage English Woman at a Seaside Beach Resort in Summer 1960's 1970's England entitled 'Summer Collection 1' by Retro Nostalgic Artist, Paul F Harding...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner and dated 1960 Image : 12 x 9.5 inches Superbly decorative 1960's Frenc...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25.5 x 20 inches Superbly decorative 1960's French portrait painting. Ide...

"Landscape" by Carlos Carnero (Uruguay/ French 1922-1980) Pen and pencil on paper, unframed paper: 16.75 x 5.75 inches provenance: the artists estate, Paris Fine original French drawing by the important and fascinating painter, Carlos Carnero (1922-1980). The painting has excellent provenance, having come from the artists estate sale in Paris. The artists close connection to one of the 20th centuries most important artists, Fernand Leger is of important significance, with his own work being widely collected and appreciated. The artist: Carlos Carnero (1922-1980), a native of Montevideo, emigrates to Paris and joins Fernand Léger's studio workshop at the end of the 1940s. Located on the Boulevard de Clichy, the workshop-school has some seventy-five students. At the end of his life, Léger elaborates a protest against Cubism advocates the return to the human figure. The head of the workshop, Nadia Khodasievich, brilliant painter, first pupil of Malevich, then of Leger in the mid-1920s, became the assistant thenthe mistress of this one and the wife in 1952. In the workshop, Carlos Carnero, soon nicknamed "Carlos" is noted for his talent and involvement. In addition to art education, the couple Léger entrusts the task of the secretariat of the workshop: movements of the stocks, inventory paintings, material organization of exhibitions. After the death of Léger in 1955, Carlos becomes very close to Nadia, rigorous in the construction of the posterity of the master. With his new companion Georges Bauquier, they found, on their own funds, the museum Fernand Léger de Biot - Carnero gives his assistance. Carnero's style is very close to that of his master, filled with joy and colorful dynamism. At the beginning of the 50's, he tried the cubisante figuration of the portraits of Picasso then adopts the abstract balances between lines, shapes and colors of Léger. Some dates: Classical studies in Montevideo (Uruguay). 1941 to 1946 School of Fine Arts, architecture section (Montevideo). 1947 Travel grant (Italy, Spain, France). 1948 Painting workshop at André Lhote workshop. 1949 Entered the Académie Fernand Léger, first student, then 1949 to 1955 Assistant-collaborator of Fernand Léger. 1955 to 1970 Collaborator of Nadia Khodasievitch and Georges Bauquier. Exhibitions: 1950 Galerie Jeanne Bucher, Paris, Atelier Fernand Léger, Exposition collective, juillet 1950. 1951 Académie des Beaux-Arts, Paris, Atelier Fernand Léger, exposition annuelle, décembre 1951. 1953 Salon des Artistes indépendants, Paris. 1953-1954 Galerie Gentilhommière, Paris, Groupe 53. 1957-1958 Première Biennale de la “Jeune Peinture”, musée des Arts décoratifs, Paris, mai-juin 1957, Francfort, Montréal, 1958. 1959 “École de Paris” à Vienne, Linz, Gratz. Galerie de France, “Cinq peintres – Un sculpteur”. 1960 Galerie Création à Roubaix. Exposition personnelle. 1961 Galerie Pierre Weiller à Paris. Exposition personnelle. Salon des Réalités nouvelles. Palais des Beaux-Arts de Bruxelles. Exposition personnelle, mai 1961. 1962 Musée des Arts décoratifs, Paris, “Antagonismes 2 - L’objet”, juillet-octobre 1962. Galerie Pierre Weiller, Paris, “Poèmes Peints”, mars-avril 1962. Exposition personnelle. Musée d’Art moderne de la Ville de Paris : “L’art latino-américain à Paris”. 1962-1963 Exposition de peinture contemporaine, Communauté européenne, Prix Marzotto. Italie, Allemagne, Belgique, France. Exposition des Artistes latino-américains, Musée d’Art moderne de la Ville de Paris. “Expressions Nouvelles”, Antibes. 1962 à 1965 Salon “Comparaisons”. L’Oeil de Boeuf, Galerie 7...

Abstract Portrait, Red Colour, Stylised, Glazed Frame By European schooled artist, Late 20th Century Gouache and Ink on canvas Framed size: 14.5 x 16 inches ...

An original large Scottish portrait oil by noted Scottish artist William Oliphant Hutchinson. The work is a portrait of a gentleman, in a suit, with a rose in his lapel. This painting is a fine realist portrait. It dates to 1960 when he was at the height of his portrait career. This is a fine example of a mid 20th century Scottish portrait. Signed and dated upper left. Provenance. Scottish collection. Condition. Oil on canvas, image size 36 inches by 28 inches and in good gallery condition. Housed in a gallery frame, 43 inches by 35 inches framed and in good condition. William Oliphant Hutchinson (1889-1970), was born at Kirkcaldy, Fife, Scotland, fifth child in the family of four sons and two daughters, of Henry William Hutchison of Kinloch, a Kirkcaldy businessman, and his wife, Sarah Hannah née Key. Educated at Kirkcaldy High School, Cargilfield School, Edinburgh, and later at Rugby School. As a boy he showed considerable promise as an artist and wanted to become a painter but his family were set on him entering business. In 1911, he spent a period in Paris, primarily to perfect his French where he also took this opportunity to study at the Atelier Delecluse, striking up a lifelong friendship with Scottish artist, [Sir] James Gunn (1893-1964). On his return to Scotland he entered the family timber business but, with his father's permission, entered Edinburgh College of Art, having a portrait of his younger sister Nancy exhibited at the Royal Scottish Academy in 1911. Whilst studying in Edinburgh he came under the influence of watercolourist Edward Arthur Walton...

A stunning British Post-Impressionist portrait oil painting by noted British artist William Lee Hankey. He was a very interesting painter who travelled widely throughout Europe capt...

"Portrait" by Carlos Carnero (Uruguay/ French 1922-1980) Pen on thin paper, unframed paper: 10.5 x 8 inches provenance: the artists estate, Paris Fine original French drawing by t...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25.5 x 19.5 inches Superbly decorative 1960's French portrait painting. I...

Portrait Of Letitia, later Lady Russell (c.1645–1721), 17th Century Studio of Sir Peter Lely (1618-1680) Huge 17th Century three quarter length portrait of Letitia later Lady Russe...

This exceedingly charming mid-18th-century English oil painting depicts a girl wearing a red gown with a train over a white petticoat. She’s holding a posy or nosegay. Evidently once commissioned for an English country house, the identity of this young lady remains a mystery. Her gown appears to be inspired by the popular ‘robe à la française...

Binche is in the Belgian province of Hainault and it was here that Louis Buisseret was encouraged to pursue his love of painting and drawing by his parents. He began his studies at t...

This lovely portrait was painted circa 1920 by the noted British Impressionist portrait painter Walter Ernest Webster. This painting depicts a beautiful young woman in an Impressioni...

This absolutely charming exhibited British Victorian oil painting is by female artist Maria Louisa Angus. Painted in 1891, it was exhibited at the Royal Academy that same year. The composition is an interior scene with two young girls on a sofa, looking at a picture book and keeping 'out of mischief' as it is entitled. The room holds an exotic mix of oriental objects and a gorgeous umbrella plant in a gleaming terracotta pot. The girls themselves are sat on a beautifully detailed fur throw, looking at a book, with a marine painting on the wall behind them. The brushwork and colouring are superb and the pink of the older girl's dress is picked up throughout the room. A really lovely painting by a very talented Victorian female artist. Signed and dated M.L. Angus 1891 lower left. Provenance. Exhibited at the London, Royal Academy, 1891, no. 841 entitled Out of Mischief. Anonymous, sale, Doyle, New York, May 20, 1998, lot 161, illustrated. Private collection, Newport, Rhode Island. Condition. Oil on canvas, 27 inches by 20 inches unframed and in good condition. Frame. Housed in a gilt frame, 34 inches by 27 inches framed and in good condition. Maria Louisa Angus (1863 - 1934) was born in Southwark on 29th July 1863, the daughter of a printer. She studied at the Lambeth School of Art in 1886 and established a studio at 1a Cowley Street in Westminster, later she worked out of Powers Studio in Ruskin House, Rochester Row. She specialised in genre subjects and some landscapes. She exhibited 10 pictures at the Royal Academy between 1888 and 1893 as well as many London Galleries and Societies. In 1913 she exhibited in the Anglo German Exhibition...

A delightful head and shoulders portrait of a young boy in a white collared shirt and buttoned brown jacket. Presented in a textured gilt-effect frame with internal slip. Indistinctl...

A painting of Lord Methuen’s Spaniels Gipsy and Fairy, by William Barraud, standing beside a classical urn in a landscape by a lake, probably in the grounds of Corsham Court in Wiltshire, the Methuen family country seat. Signed and dated 'W Barraud...

A fine Victorian Scottish genre oil on canvas painting which dates to 1868 and is titled The Gossip by famous Scottish artist William Fettes Douglas RSA. It is a stunning depiction o...