United Kingdom - Portrait Paintings

'The Chess Match', oil on cardstock paper, by Raymond Debiève (1973). Rich colours, bold, painterly brush strokes and an unusual subject for a work of art, Debiève has created this s...

This elegant portrait, presented by Titan Fine Art, depicts a beautiful young lady seated in a wooded area, resting one arm on a rock, before a landscape and a warm evening sky. She is wearing a white smock under russet-coloured silks, loosely held in place by an immense black diamond clasp on the sleeve, and her body is enveloped in a voluptuous swag of azure silk; the costly fabrics and jewels reveal that the sitter was a paragon of a wealthy and privileged society that she belonged to. Much of the attractiveness of this portrait resides in its graceful composition and the beauty of the youthful sitter. The flowing water in the left margin of the picture and the shell that she holds are compositional devises often used at the time to allude to her potential as wife and mother, recalling Proverbs, Chapter 5, Verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. Symbolism was a key component to many works of this period and contemporary viewers would have deciphered them immediately. Such images exude a sense of status and Augustan decorum, and were highly influential in transmitting these values into the first half of the eighteenth century. Held in a good quality and condition gilded antique frame. Herman Verelst was from a great dynasty of painters, with many members achieving great success. Specialising in portraits and still life paintings, he was one of the legions of foreign-born artists working in England at the time. Today, many of his pictures are given to other artists or are simply relegated to that term “circle of” which is a great disservice because he had an ability to render faces and drapery on par with some of the best artists at the time. Herman’s work is quite distinctive in the way he rendered faces and this particular pose was a favourite. His faces were portrayed with great skill often using the sfumato technique which gave them a very smooth feel to the skin with no hard lines, and many known works by him show that he could also render drapery with great affect. Our painting was painted in the 1690’s. His father, Pieter Hermansz Verelst...

Portrait of an Elderly Fisherman Italian School, 19th century oil on canvas, framed Framed: 14 x 12 inches Canvas: 10.5 x 9 inches Provenance: private collection Condition: several s...

This charming ex Christie's Victorian Orientalist oil painting is by noted French exhibited artist Lucien Laurent Gsell. The painting dates to around 1900 and portrays a beautiful yo...

Konstantin Razumov (Born 1974) Russian Elegant Young Lady seated on the Terrace at a Parisian Café, wearing a Lilac and blacvk dress Oil on canvas: 16 x 13inches. Frame: 23 x 20 i...

Portrait of a Victorian Lady English artist, circa 1870's period oil on canvas, framed framed: 27 x 21 inches canvas: 18 x 14 inches provenance: private collection, UK condition: ove...

'Portrait of a Man', oil on canvas, by Yvonne Guégan (circa 1970s). This is not a portrait of the reclusive billionaire, Howard Hughes. Regrettably, we d...

Portrait of Thomas Collard (rector of Withycombe, Somerset 1670-1691) the city depicted in the distance is thought to be Antwerp. the portrait historically has been thought to be fr...

In need of full restoration. Unsigned. On canvas.

This charming British 18th century Old Master portrait oil painting is attributed to noted portrait artist Thomas Hudson. Hudson was most prolific between 1740 and 1760 and, from 174...

Portrait of a Gentleman in Armour beside a Table with Helmut c.1685 Follower or circle of Johann Kerseboom (d.1708) This exquisite Grand Manner work, presented by Titan Fine Art, wa...

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...

This stunning Scottish 1920's self portrait oil painting is by noted Scottish female artist Helen Mackenzie. Painted circa 1929 the composition is the head and shoulders of the artis...

A fine Biedermeier period portrait of Carl Hechner captured in profile, wearing a high-collar shirt with a tightly worn blue cravat. The accomplished portrait has been well presented...

This charming British Post Impressionist portrait oil painting is by noted Slade School artist (Alfred) Clive Gardiner. It was painted in 1918 and shows the influence of the French a...

Portrait of Woman with Black Hair and Fringe styling by Anton Sailer (French 1903-1987) Signed & dated 1930 oil on canvas, framed Framed: 23.5 x 18 inches Canvas: 18.5 x 13.5 inches ...

'Portrait of a Young Woman', oil on board, by Anna Costa (circa 1960s). This is a beautifully expressive portrait painted by the artist using vibrant colour...

Fine Portrait of a lady standing in a landscape wearing a white satin dress and holding a posy of flowers. Manner of Sir Godfrey Kneller (1646-1723) ...

Portrait of a Radiant Young Woman by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 18 x 15 inches condition: overall very good, mi...

Portrait of a Lady French School, 19th century oil on canvas, framed framed: 34 x 29 inches canvas: 30 x 25 inches provenance: private collection, France condition: very good and sou...

Elegant Portrait of a Woman Spanish/ French School, mid 20th century signed oil on canvas, framed in original period frame inscribed verso Framed: 30 x 27 inches Canas: 22 x 18 inche...

Abstract Art, Picasso Style, Multicoloured, Original Oil Painting, Signed By French artist Beatrice Werlie, early 21st Century Signed by the artist on the lower right hand corner Titled verso and dated '2004' Oil painting on canvas, unframed Canvas size: 26 x 19.5 inches Sensational abstract oil painting by a French female artist named Beatrice Werlie. A wonderful nod to the Picasso style of abstract art, using the artists supreme technique of mixing unusual colours together. The striking mix of red, yellow and blue brings a rich sense of warmth to the piece. The concept of 'abstract' was defined by Picasso, but many artists have looked to the Spanish iconic...

Paris: A Wartime Study of Figures Relaxing in Springtime by Henri Miloch (1898-1979) Unsigned watercolour, graphite and gouache painting on artist's paper, unframed Sheet: 12.25 x 9...

Portrait of a Young Boy French Rococo School, 18th century oil on canvas, framed Framed: 24 x 20 inches Canvas : 20 x 16 inches Provenance: private collection, France Condition: very...

Austrian School, 18th Century A Portrait of a Gentleman, thought to be Moses Diego Lopez Pereira, 1st Baron d’Aguilar, in an elaborate coat and a powdered wig Oil on canvas Provena...

This moody portrait captures a figure in profile, wearing a distinctive dark fur Russian ushanka against a somber brown background. The brushwork is loose and expressive, creating a ...

A finely painted portrait of Man aged 55 years. Signed, Inscribed and Dated with old Dutch family provenance. He weighs a large white millstone ruff and a black silk tunic.

A Full-Length Portrait of Nicholas I of Russia in a classical setting. Pietro Labruzzi (1739–1805). 1802.    Signed, located and dated lower left: ‘Pietro Labruzzi Roma Pinx Anno 1802.’ Oil on canvas.   Dimensions:  Unframed: 135.7 x 98.5 cm.; 53½ x 38¾ in. Framed: 151.6 x 115.6 cm.; 59¾ x 45½ in. Description:  Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor...

Signed and dated Helen Bradley 1972 (lower right) Story inscribed on the verso. Image dimensions: 28.5cm x 24cm / 11.2 inches x 9.5 inches Framed dimensions: 39.5cm x 34.4cm / 15.6 ...

Portrait of a Young Woman French artist, mid 20th century signed oil on board, frames Framed: 29 x 23 inches Board : 22 x 15 inches Provenance: private collection, France Condition:...

This striking composition captures a moment of musical concentration, depicting a lady seated at a piano in a warmly lit interior. The artist's skilled use of light and shadow create...

Portrait Of Lady Manners, 18th Century attributed to THOMAS HUDSON (1701-1779) Large 18th Century English portrait of Lady Manners, oil on canvas attributed to Thomas Hudson. Excellent quality and condition circa mid 18th Century portrait of the young lady wearing a lace Bonney with a pink bowtie...

A dynamic portrait in oil depicting a gentleman playing the guitar. The artist uses loose, gestural brushstrokes and a moody colour palette to reflect the music and create a sense of...

Portrait Of Sir James Hamlyn (1735-1811), MP for Carmarthen, Sheriff of Devon, 18th Century follower of Sir Joshua REYNOLDS (1723-1792) Large 18th Century portrait of Sir James Ham...

This evocative portrait depicts an elderly figure in traditional attire, seated against a muted background. The artist skilfully captures the subject's weathered features and gentle ...

This striking Art Deco portrait oil painting is by female artist Jolan Polatschek Williams. Williams was born in Austria but settled in England in the 1920's where she remained. Pain...

Pink Dress by Josine Vignon (French 1922-2022) ink/watercolour/pencil drawing on card, unframed paper: 10 x 6.5 inches double sided very good condition provenance: from the artists...

A beautiful 1950's Modern British oil on board portrait of a young man wearing a blue jacket. Excellent quality portrait which is presented in a beautiful painted and gilded reverse ...

Studying the Maps Italian School, late 19th century signed lower corner watercolour on board, framed framed: 24.5 x 17.5 inches painting: 20.5 x 14 inches provenance: private collect...

This charming mid-19th-century oil painting by German artist Anton Benno Zottmayr (1795-1865) depicts a gentleman holding a letter. Zottmayr was an accomplished painter of portraits,...

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...

Title: Portrait of a Gentleman in Red - Expressive Contemporary Oil Painting Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 14 (height) x 10.75 (width) (Mo...

Italian School, early 19th century 'Portrait of a Bearded Man' - possibly Saint Peter? oil on board, framed framed: 16 x 13.5 inches board: 12.5 x 9.5 inches provenance: private col...

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...

This portrait captures a youthful subject with a direct, engaging gaze against a neutral background. Signed to the upper left corner. Presented in a gilt frame with a beaded running ...

Nude Portrait by Josine Vignon (French 1922-2022) signed on front and back oil painting on canvas, unframed canvas: 18 x 13 inches Colors: Beige colors, beige, brown, blue , green ...

This stunning, large British Edwardian Impressionist portrait oil painting is by noted portrait painter James Jebusa Shannon. Painted circa 1909 the sitter is his eldest daughter, Kitty. She is holding a family heirloom, the silver ship which has been depicted in several of shannon's works. The painting of his daughter, just on the cusp of entering womanhood, was dear to the artist and stayed within the family long after his death. The vibrant reds and bold brushwork, so unmistakable Shannon, make this an excellent example of a very personal and precious Edwardian family portrait oil painting. Provenance. The Artist. Lady Florence Shannon. By descent to Kitty Shannon Keigwin, the Artist's daughter. By descent to Julia Gibbons, the Artist's granddaughter. Estate of Julia Gibbons to the present owner. Exhibited. "Seeking Beauty: Paintings by James Jebusa Shannon," Debra Force...

The Victorian English Gentleman Portrait of a Man seated in a leather chair, holding a letter in his hand. oil on canvas , framed framed: 41 x 33 inches canvas: 36 x 28 inches prove...

Mother & Daughter French artist, late 19th century signed oil on board, framed framed: 22.5 x 18.5 inches board: 20 x 15 inches provenance: private collection, France condition: very...

Cain & The Death Of Abel, 18th Century School of William Blake (1757-1827) Circa 1790 English School depiction of Cain and the Death Of Abel, oil on canvas. Rare biblical depiction...

This superb British 18th century Old Master portrait oil painting is attributed to Matthew William Peters. Painted circa 1780 it is a fine half length portrait of a woman gazing to her left. She has a lovely blue bow and sash on her dress. The sympathetic detail in her face is sublime. A really wonderful 18th century Old Master portrait. Matthew William Peters was known for his late 18th century portraits which had both the influence of Sir Joshua Reynolds and Thomas Gainsborough. Provenance. Lincolnshire estate. Condition. Oil on canvas 30 inches by 25 inches unframed and in good condition. Has has restoration. Frame. Housed in an ornate gilt carved swept period frame, 40 inches by 35 inches framed and in good condition. Matthew William Peters (1742-1814) was an English portrait and genre painter who later became an Anglican clergyman and chaplain to George IV. He became known as "William" when he started signing his works as "W. Peters". Peters was born in Freshwater, Isle of Wight, the son of Matthew Peters (born at Belfast, 1711), a civil engineer and member of the Royal Dublin Society; by Elizabeth, the eldest daughter of George Younge of Dublin. The family moved from England to Dublin when Peters was young. Peters received his artistic training from Robert West in Dublin; in 1756 and 1758 he received prizes from the first School of Design in Dublin. In 1759, he was sent by the Dublin Society to London to become a student of Thomas Hudson and won a premium from the Society of Arts. The group also paid for him to travel to Italy to study art from 1761 to 1765. On 23 September 1762 he was elected to the Accademia del Disegno in Florence. Peters returned to England in 1765 and exhibited works at the Society of Artists from 1766 to 1769. Beginning in 1769, Peters exhibited works at the Royal Academy. In 1771 he was elected an associate and in 1777 an academician. He returned to Italy in 1771 and stayed until 1775. He also probably traveled to Paris in 1783–84, where he met Léopold Boilly, Antoine Vestier, and was influenced by the work of Jean-Baptiste Greuze. On 27 February 1769, Peters became a freemason, and he was made the grand portrait painter of the Freemasons and the first provincial grand master of Lincolnshire in 1792. In 1785, he exhibited portraits of the Duke of Manchester and Lord Petre as Grand Master at the Royal Academy exhibition. According to Robin Simon's article in the Oxford Dictionary of National Biography, no British contemporary had such an Italian manner of painting as Peters, reflecting the old masters he copied. Many of Peters' works were erotic and although these works did not damage his career, according to Simon, Peters later regretted these when he became an ordained clergyman in 1781. He served as the Royal Academy's chaplain from 1784 to 1788, at which time he resigned to become chaplain to the Prince of Wales. In 1784, Peters was awarded the living of Scalford, Leicestershire by Charles Manners, 4th Duke of Rutland. In 1788, the Dowager Duchess gave him the living at Knipton, at which time he also obtained that at Woolsthorpe. These livings were near to Belvoir Castle...

19th/ early 20th Century Italian School Madonna and Child oil painting on canvas, unframed canvas: 32 x 24 inches provenance: private collection, UK co...

Portrait of a Dancing Women French artist, mid 20th century signed oil on canvas, framed in original 'Montparnasse' style frame framed: 30 x 25.5 inches canvas: 22 x 18 inches Prove...

Rainy Day by Josine Vignon (French 1922-2022) ink/watercolour/pencil drawing on thick paper, unframed signed J.V paper: 10 x 6.25 inches double sided very good condition provenance...

Edouard Julien. French ( b.1883 - d.1966 ). Self Portrait, 1932. Oil On Panel. Image size 17.7 inches x 14.6 inches ( 45cm x 37cm ). Frame size 20.9 inches x 17.7 inches ( 53cm x 45cm ). Edouard Julien was an accomplished French painter and lithographer, and long-term curator of the Toulouse-Lautrec Museum in Albi. As a scholar of Toulouse-Lautrec he became an art writer who was sought after by publishers all over the world. Julien was born in Albi, in the Occitanie region of France in 1883. He had an uncle who was a painter and his parents ran a printing house which specialised in art editions and the printing of lithographs. This would have given the young Edouard a taste for art and a sound understanding of artistic techniques. At 17 he entered the Ecole des Beaux-Arts in Toulouse and studied there throughout 1900 and 1901. He then returned to Albi and took care of the family business, although he also pursued his love of art by working as an artist. By 1903 he was at the Academy in Albi, founded by Bernard-Joseph Artigue, where he became friends with the artist Henri Gourc. In 1928 Julien left Albi again for Paris where he enrolled in the Julian Academy, but he was quickly told that he was an artist, not a student and that they had nothing to teach him about the technique of painting. He therefore rented a studio and worked hard, making friends and exhibiting his works with success. As an artist Julien loved working in the open air, and his works showed extreme sensitivity. He travelled widely within France to work, and particularly loved the Basque Country, where he met his wife. He also travelled to paint the magical landscapes of Spain, Flanders and North Africa. At some point Julien returned to Albi, which was also the birthplace of another now more famous French artist whom he admired, namely Henri de Toulouse-Lautrec. This artist was to feature most prominently in the professional life of Edouard Julien. In 1922 the Toulouse-Lautrec Museum was inaugurated in the prestigious setting of the Palais de la Berbie in Albi. This 13th century building was originally the Bishop’s Palace of Albi Cathedral, next to which it stands. It is dedicated mainly to the work of Henri de Toulouse-Lautrec and, thanks to a bequest from his parents, houses the largest public collection in the world devoted to this artist. Many visitors do not appreciate that this collection owes much of its success to the devotion of Edouard Julien. In 1934 Charles...

This striking British Edwardian oval portrait oil painting is by noted artist Maurice Greiffenhagen. Painted circa 1901 the sitter is Mrs Bury Barry from a landed gentry family. It is a half length portrait which combines Greiffenhagen's skill as a portraitist and his tendencies towards theatricality and romance, in part effectively conveyed by the dramatic lighting, which highlights the sitter's skin revealed by the low neckline of her dress, and the rose which she holds to her chest and which matches the red of her blushing cheeks. The brushwork, detail and colouring are superb. This is a lovely British Edwardian portrait and an excellent example of Greiffenhagen's work. Signed and inscribed 'MAURICE GREIFFENHAGEN / 2 LONDON RD N.W. / [PORTR]AIT OF MRS BURY BARRY' on the upper stretcher bar, Provenance. With the Art Exhibitions Bureau, London, label verso. Anon. sale, Christie's, London, 23 March 2016, lot 39. and also 14th Juky 1986 James Bourlet - label verso Condition. Oil on canvas, 36 inches by 28 inches and in good condition. Frame. Housed in an ornate gilt oval frame, 46 inches by 38 inches, in good condition. Maurice William Greiffenhagen, RA, British (1862-1931). Greiffenhagen worked as a painter, illustrator and graphic designer and taught at the Glasgow School of Art from 1906 to 1926. His output was widely varied, ranging from stylised graphic work, to more formal, restrained portraits, and to his somewhat fantastical mythical and allegorical scenes. One of his most celebrated works amongst contemporaries was his sensual and atmospheric 1891 painting...

A striking portrait of a schoolboy in a blue school uniform captured in expressive, gestural brushstrokes. Unsigned. Acquired as part of a studio collection. Presented in a black woo...

A superb large scale Modern British oil on canvas portrait of a smartly dressed young man wearing a striped shirt, suit jacket and tie. Excellent quality and unsusual work, which i...