Europe - Portrait Paintings

A terrier named Joe standing in an English country house walled garden, painted by the eminent animal painter John Emms (1844-1912) in the late 19th cent...

Work on cardboard Golden wooden frame 51 x 43.5 x 4 cm

The painting (measures 89.5 x 124 cm; with gilded and carved wooden frame 126 x 158 cm) is an example of unfinished, as can be deduced from the background in which, in some parts, th...

This beautiful British 1930's portrait oil painting is by noted artist Frank Owen Salisbury or Frank O'Salisbury as he is also known. Painted in 1934, the composition is a half lengt...

WILLIAM CROSSBIE RSA (1915-1999) Described by the Royal Scottish Academy as “one of the finest and most singular Scottish painters of the twentieth century”, am Crosby trained at Glasgow School of Art and in Paris under Ferdinand Leger...

Emperor Nicholas I Of Russia On Horseback, 19th Century Heinrich Muller (1781-1851) Large 19th Century portrait of Nicholas I, Emperor of Russia on horseback, oil on canvas attribu...

A pair of large Glasgow School oil on canvas portraits by Scottish artist Stuart Mackenzie. The works are presented in plain baton wood frames. Thoug...

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...

Artist/ School: French School, mid 20th century, indistinctly signed lower corner Title: Portrait of a Nude Lady Medium: signed oil painting on canvas, unframed canvas: 18 x 21.75...

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

Portrait of a Man with Cherries & Blue Jug French School, mid 20th century circa 1950's oil on canvas, unframed canvas: 26 x 16 inches provenance: private collection, France conditio...

Dutch Female Artist Liseth Visser is no stranger to the world of portraiture. In the past she was nominated for the 'BP portrait award' from 'Th National...

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

Artist/ School: Rene Leroy (French b. 1932) signed Title: Abstract/ Cubist Composition Medium: oil on canvas, signed Size: painting: 21.25 x 28.75 inches Provenance: all ...

Huguette Ginet-Lasnier (French 1927-2020) framed signed oil painting on textured board framed: 22 x 19 inches board: 18 x 15 inches. All the paintings we have for sale by this artis...

The Lady in the Interior Josine Vignon (French 1922-2022) ...

French Academic School, 18th century A tête d’expression study of a gentleman, c. 1780-90 Oil on canvas 46.1 x 35 cm.; (within frame) 57.5 x 46.6. cm. Provenance: Private Collectio...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage and me...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage and me...

Portrait of an Elegant Lady original pencil drawing on paper by Marjorie Schiele (1913-2008) *see notes below signed piece of paper is 9 x 6 inches In...

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...

''Portrait of a Lady in Pink" by Édouard Righetti (1924-2001) Signed lower front and back oil painting on canvas, beautifully painted with rick thick impasto oil and bold colors. v...

Portrait of an Elegant Lady original pencil drawing on paper by Marjorie Schiele (1913-2008) *see notes below piece of paper is 8.5 x 6 inches In good condition, though with minor o...

A fine impressionist style portrait study of a young woman in a garden filled with flowers. She pulls a branch of blossom towards her to smell, her eyes drifting to the distance in t...

A fine Scottish portrait oil painting of a sweet young boy with bright blue eyes. This quality portrait dates to circa 1900 and is housed in a fine Watts frame. A beautiful painting....

This fantastic portrait oil painting is attributed to British Old Master Joseph Highmore and was painted in 1770. The half length standing portrait is of a Cleric, dressed in his wig...

A fine early Victorian portrait of a dignified matronly woman, finely dress in black with a delicate lace bonnet and collar and an exquisite jet necklace. The artist shows a wonderfu...

Portrait by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on canvas stuck on board, unframed measures: 18 high by 15 inches wide conditi...

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...

Cubist Portrait, Multicoloured, Original Oil Painting By French artist Beatrice Werlie, early 21st Century Oil painting on canvas, unframed Canvas size: 21.5 x 18 inches Sensationa...

Christine van der Cingel (1966) paints mainly cityscapes, people and animals. In her portraits the emphasis is on movement. It is more about t...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

This hand-painted round portrait, part of the ongoing Exchange Currencies series by Moldovan artist Natasha Lelenco, explores themes of psychological resilience, identity, and the sy...

This most charming oil painting is attributed to the circle of noted British Impressionist artist Philip Wilson Steer. Painted circa 1900 this lovely Edwardian Impressionist paintin...

Portrait Of A Lady, Frances Bard (1646-1702) Mistress of Prince Rupert von de Pfalz, Duke of Cumberland (1619-1882) follower of Anthony Van Dyck (1...

Portrait Of A Girl In White, circa 1900 by Robert Edward MORRISON Large circa 1900 edwardian portrait of a girl in white, oil on panel. Excellent quality and condition period port...

ARTIST Joanna Woyda (b. 1981) Studied painting at the Academy of Fine Arts in Warsaw (2000-2005). She received her honorary degree in 2005. She was also a scholarship holder of the...

Josine Vignon (French 1922-2022) ...

Singer in the Role of Chained Andromeda, Possibly from Persée by Lully (1682) Marie Aubry (c. 1650 – after 1684), renowned soprano of the Académie Royale de Musique and the original...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Image : 25.5 x 19.5 inches (frame not included in purchase) Superbly decorative 1960's Fre...

Vibrant Abstract, Blue, Colourful Oil Painting, Original By French artist 'L.Polevin', 20th Century Signed indistinctly and dated '1986', signed verso Oil painting on canvas, unframe...

After Lorenzo Lippi (Florence, May 6, 1606 - Florence, April 15, 1665) is a Baroque painter of the Florentine school and a seventeenth-century Italian poet.

'Outstanding in His Field', oil on cardstock paper, by Raymond Debiève, 1976. The artist depicts a salt-of-the-earth farmer seated on a fence post, arms crossed with a look of wholeh...

Huguette Ginet-Lasnier (French 1927-2020) inscribed verso oil painting on textured canvas 18 x 15 inches. All the paintings we have for sale by this artist have come from the artist...

1996: Gianluca Peruzzi - Juventus Goalkeeper, Champion of the UEFA Champions League Technique: Charcoal on paper, Signed and dated '96 Author: Marco Silombria (Savona, 1936 - Albiss...

Mitzy Renooy Together again Ø 80ccm Frame included in price, size with frame: 90 cm Dutch artist Mitzy Renooy, a former camera woman for national television, did follow art academy...

Known for her bold visionary take on figurative realism, Erin Cone has twice been recognized in the national art press as one of the top young emerging artists in the country. After ...

Firmado en la parte inferior (desconozco el artista) Se presenta sin enmarcar la pintura El estado de la pintura es aceptable Medidas obra: 58 x 48 cm.

Augustus Edwin John O.M. R.A. 1878-1961, was a Welsh born painter, draughtsman and etcher. He was the most important artist of his generation, his sister Gwen John was also an accom...

ABOUT THE ARTWORK "Shelter Me" is an evocative portrayal of the human need for protection and emotional safety. The central figure, with her eyes closed in a serene, almost meditati...

Charles Cooper Henderson (English, 1803-1877) Windsor Mail Coach Oil on canvas With chalk inscriptions verso Property of a gentleman From the collection of Peter Roe Dimensions: (F...

Work on wood Golden wooden frame 54 x 47 x 4 cm

Portrait of Dwight D. Eisenhower, oil on board, signed Girardet, French School (circa 1950s). A compelling vintage oil portrait of General Dwight D. Eisenhower, one of the most influ...

Louise Marie-Jeanne HERSENT, born MAUDUIT (Paris, 1784 – Paris, 1862) A young woman reading a letter. Study figure Oil on canvas Signed and dated in the middle on the right 100 x 8...

The Blood Of Christ, The Milk Of The Madonna, 16th Century circle of Adriaen Isenbrandt (1480-1551) Huge 16th Century Flemish old Master depiction of...

After Rembrandt (1606-1669). Copy of Self-Portrait with Beret and Turned-Up Collar. Oil on panel. Monogrammed in Hebrew to the lower right. Well presented in a bold gilt-effect frame...

The Favourite Pet, portrait of young lady with Alsatian dog. French Schoo, signed indistinctly, dated 1940 oil on canvas, framed framed: 23 x 29 inches c...

Antique Oil Painting on Metal – 19th Century Miniature Artist: Unidentified Medium: Oil on Metal Dimensions: Framed: 19 x 17 cm Artwork: 10 x 6 cm Style: Classical / Romanticism / M...