London - Portrait Paintings

Young boy by Max Band (1901-1974) Oil on canvas 81.2 x 54.4 cm (32 x 21³/₈ inches) Signed lower left Max Band Provenance Private collection, London

Thomas Burford (British, c. 1710-1779) Hare coursing outside a country house Oil on canvas Property of a gentleman From the collection of Peter Roe Dimensions: (Frame) 12.5 in. (H)...

Charles Philips 1703 - 1747 Portrait of a King's Messenger Oil on canvas Image size: 35 ¾ x 28 inches Original gilt frame King's Messenger The job of a King's Messenger was that of a diplomatic courier, hand-carrying important and secret documents around the world. Some say that the history of the sovereigns' messengers goes back to 1199, but the first known messenger was John Norman, who in 1485 earned 4d (1½ pence) per day for carrying the state papers of Richard III. The silver greyhound on the messenger's badge dates back to Charles II. In 1660, during his exile at Breda, Netherlands, Charles II issued a declaration of amnesty to all those who had opposed him and his father. He used messengers to make his intentions known. In answer to the messenger's question "How will they know me?", Charles reached forward to a silver bowl on the table in front of him. This bowl, with four decorative greyhounds standing proud above the rim, was well known to all courtiers. Charles broke off a greyhound and gave it to the messenger as a guarantee that the message came from him. From that date, the King's Messenger always wore a silver greyhound around his neck. Later, dating from George II or III, a badge with the Royal Arms in enamel, with the greyhound suspended beneath, was worn. A George III example of the King's Messenger Badge, pre 1800, sold for over £30,000 pounds some years ago. The silver greyhounds were minted for each new reign, except the brief one of King Edward VIII. The sovereign's messengers were originally controlled by the Lord Chamberlain, being Messengers of the Great Chamber. When the Foreign Office was created in 1782, the messengers remained common to the three Secretaries of State. Charles Philips was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. Philips was baptised in the combined parish of St Mildred, Poultry with St Mary...

after HANS HOLBEIN THE YOUNGER 1497 – 1543 PORTRAIT OF WILLIAM WARHAM Oil on canvas Image size: 38 x 35 inches (89 x 71 cm) Hand made period style frame The handling of the paint in...

John Westbrooke Chandler 1763- 1807 Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Original gilt swept frame This portrait is marked by its loose brushwork, which creates a...

'Rolling Stones - Three Heads' acrylic on canvas, by Peter Robert Keil (1985). Big, bold with brash brush strokes painted in exuberant colours is the trademark of the artist. Strange...

Circle of Mary Beale 1633 - 1699 Portrait of a Gentleman Oil on canvas Image size: 30 x 25 inches Contemporary gilt frame Mary Beale was the daughter of a Suffolk clergyman.She married Charles Beale...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Image dimensions: 92cm x 61cm / 36 inches x 24 inches Framed dimensions: 94.8cm x 64.4cm / 37.2 inches x 25.4 inches This original acrylic painting by David Schock beautifully captu...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Ocean Sunset," a masterpiece by contemporary artist Alina Hub...

Oil on panel Panel size: 8 x 6.5 inches Framed size: 12.5 x 10.75 inches Signed top right

Oil on canvas Image size: 15 1/2 x 11 1/4 inches (39.5 x 28.75 cm) Original gilt frame This is a touching head and shoulders portrait of a young peasant girl. Wearing a headscarf, a...

With a background in engineering and architecture, Marco Araldi is demonstrably comfortable with both mathematical design and geometry. Naturally drawn t...

'The Market Seller in Nice', gouache on paper, by Alfred Salvignol (circa 1950s). The role of women as support to their families has been both very important and highly undervalued b...

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...

Follower of Ambrose McEvoy Circa 1910 Portrait of a Lady Oil on canvas Image size: 20 x 16 inches (51 x 40.5 cm) Original ebonised Frame A stunning portrait of a lady with flami...

Graham Dean 1984 Porter Acrylic on canvas Image size: 40 x 29 inches The model in this painting is the same as the one in the painting Camouflage. The artist researched a lot about ...

'Lunch at Chez Louis', oil on canvas, by Roland Dubuc (circa 1970s). The outdoor terrace at restaurants and cafés in France goes back centuries as they have always been a gathering place for intellectuals to meet and debate philosophical issues; for the Avant Garde set to display their works; for artists to compare and exchange ideas and for writers to drown their sorrows over their artistic anguish or melancholy. Even the freedom fighters of the French Revolution and later the French Resistance would meet in cafés to plot their course. Regular people of course also enjoy these venues. A very delightful feature of these French institutions is that there is always room for quiet book readers, romantic couples, business meetings and lively groups of friends sharing a bottle of wine. The artist Dubuc captures a slice of this lovely aspect of French culture in this smile-inducing depiction painted in vivid oils. With a background of greenery, the patrons enjoy the outdoors protected from the intense sun by the table's parasols. Ah, the life. The artwork is in good vintage condition, is framed and signed by the artist in the lower left hand corner. Please enjoy the many photos accompanying this listing. Upon request a video may be provided. About the Artist: Roland DuBuc (1924-1998), French artist, the sixth of 13 children and son of a construction worker. The very precariousness of the family's financial situation forced him to go to work at the age of 14. In extreme poverty, he moved to Rouen where he was lodged by the Salvation Army. During that time he struck up friendships with several artists who gave him advice and taught him techniques of drawing. He moved to other cities later where he met painters including, among others, Fred Pailhès...

Oil on panel Panel size: 19.25 x 12.5 inches Framed size: 31.25 x 25.5 inches Signed lower left

John Opie RA (1761-1807, English) c. 1802 Oil on canvas Canvas dimensions 36 x 32 inches Framed dimensions 46.5 x 43.25 inches Original gilded period frame. John Opie was a Corni...

Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...

Portrait of a Privateer Francis Hayman 1708 - 1776 Oil on canvas Image size: 20 x 14 inches (51 x 36 cm) Contemporary style frame Provenance Charles Fleischmann Esq Here, a small ...

Oil on canvas Canvas size: 23 x 19.25 inches Framed size: 30 x 26 inches Signed lower right

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Contemporary hand-carved frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece w...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative painter Andrew S. Conklin creates a co...

Jacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...

This wonderful original oil painting by Paul S. Brown depicts a wild turkey, with its glorious feathers spread across the table. Brown's extraordinary attention to detail and impecca...

"Florentine Expressions: A Portrait Series IV", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an inter...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Butterfly’s Dance" is a mesmerizing portrayal of movement, pas...

Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by With Lane Fine Art, UK, where purchased by the present owners in 1996 Literature 'Poundisford Park, Somerset' in Country Life, 22 December 1934, ill. A.W. and C.M. Vivian-Neal, Poundisford Park, Somerset: A catalogue of pictures and furniture, Taunton 1939, cat. nos. 11 and 13 This is a three-quarter-length portrait of Ralph William Grey in a mole-coloured velvet coat and a long waistcoat of green satin, heavily embroidered in gold. Under his left right hand is a black chapeau bras. He has white doe-skin gauntlet gloves. Son of William and Ann Grey of Backworth: born 19 December 1707. He married Mary the daughter of William Rawstorne of Newall in 1741 and died 5 November 1786. He was educated at Eaton and Trinity College, Oxford. Within a year of his birth Mrs Grey died and, according to the Country Life article 'From that time forward all Mr Grey's faculties were concentrated on the well-being of his son. The possession of an heir gave zest to his efforts to build up the family fortune: he was successful in most of his ventures. Years later his interest in life was centred in the home of his daughter-in-law and grandchildren'. Grey's right hand is depicted in the present portrait resting on Locke's Essays and the Country Life article also records that there are constant references to John Locke...

Gilbert Jackson English Active: 1620 - 1650 Portrait of a Girl Oil on panel, signed upper left and Inscribed upper right Image size: 24 ½ x 20 inches Contemporary style hand made...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Portrait of a Woman by MELA MUTER (1876-1967) Oil on board 70.5 x 54 cm (27 ³/₄ x 21 ¹/₄ inches) Signed lower le...

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...

'The Cyclists Rest Stop in Honfleur' by Jean-Marie Luc Blanpain, oil on canvas (circa 1970s). The artist's depiction of the terrace of the well known Honfleur restaurant, 'Au Relais ...

'Nude Posing on the Sofa', oil on canvas, by Louis Latapie (circa 1940s). From a long line of renowned paintings whose subject is reclining nudes, this ext...

Walter Charles Horsley 1855 – 1921 The Distraction Oil on canvas, signed lower left Image size: 25 x 20 1/2 inches (63.5 x 52 cm) Orientalist ha...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

Attributed to Gainsborough Dupont (1754 - 1797, British) Portrait of Owen Ormsby, bust-length, in a brown coat, with slightly later inscription identifying the sitter oil on canvas 2...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Origin" by Abi Whitlock invites viewers to explore a moment o...

Circle of Pieter Harmensz Verelst 1618 - 1678 Portrait of a Young Man Oil on oak panel Image size: 7 ½ x 5 ¾ inches Dutch ripple frame

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

Oil on canvas, signed lower left Image size: 16 x 15 3/4 inches (40.5 x 40 cm) Original gilt frame Provenance From the estate of the prominent art collector Leon Zielinski This is ...

Oil on canvas Image size: 28 3/4 x 24 inches (73 x 61 cm) Contemporary style gilt frame This portrait is an evocative example of Devis' Regency period portraiture, featuring a pleasant looking young girl holding a book in an outdoor setting. Working with a darker palette, a strongly accented diagonal recession, and dramatic contrasts of light and shadow, Devis heightens the girl's three-dimensional physical presence in the foreground of the composition. The Artist  Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson. Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay). He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds. He was appointed draughtsman on the British East India Company's packet Antelope in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library. He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office. He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic Death of Nelson, which proved a sensation. Devis also painted Dr Beatty, and was commissioned by him to produce a half-length painting of Nelson as vice-admiral, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling). Either the original or a copy of this portrait was exhibited at the Royal Academy two years after the Battle and many copies were made of it. Lord Howe owned one, and another ended up in the collection of the National Maritime Museum. It also appeared as an engraving in Beatty's published account of Nelson's death. Other work includes a portrait of King George III on horseback, and a range of portraits of admirals and generals, along with historical subjects, such as the Babington Plot and the signing of the Magna Carta...

Oil on oak panel, inscribed top left ‘AETATIS SUAE 32’ Image size: 27 x 35 inches (68.5 x 89 cm) Contemporary style handmade frame This is a portrait of a medical figure from the ea...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Rebecca Couchée by JULES PASCIN (1885-1930) Oil over pencil on canvas 73.1 x 91.8 cm (28 ¾ x 36 ⅛ inches) Signed lower right, Pascin Executed in 1927, Boulevard de Clichy, Paris Provenance Collection Marcel Bernheim, Palais des Beaux-Arts de Bruxelles, acquired from the artist, 1928 Pierre Blum, Paris, acquired from the above, 1952 Perls Galleries, New York, no. 13565 Private collection, Osaka Sotheby’s, New York, 14th May 1998 Peter Findlay Gallery Inc., New York Private collection, USA, acquired from the above, June 2011 Literature Luis Seoane...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Oil on panel Panel size: 6.5 x 5 inches each Both signed upper right

John Riley 1646 – 1691 Portrait of William Chiffinch (c.1602-88) Oil on canvas Image size: 30 x 25 inches Original frame Another version of this can be found in the Dulwich Pictur...

Oil on canvas on board, signed lower left Image size: 14 1/2 x 17 1/2 inches (36.5 x 44.5 cm) Hand made frame In this atmospheric scene a drunk is walking home, he must be causing some noise as another person is leaning out of his window to the right looking at him. The artist has captured old London beautifully with the old bins, advertising on the walls and the cats bemused by the drunken figure. It sometimes takes an outsider such as Sancha to appreciate the beauty of the scene. Francisco Sancha Lengo Self portrait in London Francisco Sancha y Lengo was born in Malaga in 1874. He attended the School of Fine Arts there and studied under Joaquín Martínez de la Vega, the eccentric, influential teacher that baptised a young Picasso with champagne. Such an education served him well, and by 1897 Sancha was studying at the Royal Academy in Madrid under José Moreno Carbonero...

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...

Acrylic on canvas, signed and dated (lower right), 91cm x 62cm (112cm x 82cm framed). (Provenance: in the collection of the artist Michael Leonard (British 1933-2023) until his dea...

Image dimensions: 26cm x 34cm Framed dimensions: 44.4cm x 52.7cm Signed lower right. Henri Bouvrie is celebrated for his masterful watercolours, which are of universal appeal. The ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative painter Andrew S. Conklin creates a co...

'Portrait of a Young Man' by Pandi, acrylic on stretched canvas. This piece was finished in early 2019 in Bali. It is a charming depiction of a...

English School 17th Century Portrait of a Melancholic Gentleman Oil on canvas Image size: 25 x 29 1/4 inches (63.5 x 72.25 cm) Hand made contemporary style frame Provenance South of England Estate This is a striking 17th century half-portrait of a man. He sits with his body turned to the left and his head to the right. His left hand is held in front of him with thumb and finger together. He wears a loose white shirt that is opened low down onto chest while being closed at his neck with a black ribbon. An orange cloak has also been draped across his arms in a rather dramatic manner. This choice of costume is immediately notable and must be compared to other portraits of this time of Elizabethan courtiers wearing slashed silk outfits with ostentatious finery and silver swords. Indeed, if one examines 17th century English...

Mother and daughter by Lélia Pissarro (b. 1963) Oil and gold leaf on canvas 100 x 100 cm (39 ³/₈ x 39 ³/₈ inches) Signed lower right Lélia Pissarro. Executed in 2020 This work is ...

Oil on canvas Image size: 17 x 21 inches (43 x 53 cm) 18th Century Carlotta frame Provenance Private Country Estate When depicting John the Baptist artists often added an outer ga...

Oil on canvas Canvas size: 12 x 10 inches Framed size: 18.25 x 16 inches Signed lower left

Gerald Leslie Brockhurst 1890 – 1978 Portrait of Marguerite Folin Oil on panel, signed lower right Image size: 18 x 14 inches (45.7 x 34.3 cm) Original frame The sitter for this po...