United Kingdom - Portrait Paintings

'Radiant Reflections: Cubist Portrait of a Woman', oil on board, by STM (circa 1970s). A superb late mid-century painting by an artist with the initials STM. Clearly inspired by cubi...

'Portrait of a Seated Man', oil on canvas, German School (circa 1970s). A richly coloured portrait of a figure painted in the style of expressionists / cubists of the era. The sensuo...

'Portrait of Cubist Man', oil on board, Berlin School (circa 1960s). A striking cubist depiction, this is a vibrant portrait of a figure in geometric perspective. The varied hues - b...

'Portrait of a Cubist Woman', oil on board, by STM (circa 1970s). A captivating painting by an artist with the initials STM. Clearly inspired by cubists Picasso and Braque, the artis...

'Cubist Figure', oil on board, by STM (circa 1960s - 70s). A marvellous mid-century sizeable painting by an artist with the initials STM. Clearly inspired by cubists Picasso and Braq...

A striking male portrait in oil. Unsigned. Presented in a substantial black frame. On board.

Unsigned. Presented in a gilt frame with foliate running patterns. On canvas.

Signed to the lower right. Presented in a slim wooden frame. On board.

Well presented in a gilt effect frame with linen slip. Signed and dated. On board.

Well presented in a gilt effect frame with gilt inner slip. Unsigned. On board.

Poetic painting showing a blurred portrait of a female. Pastel blues, greys, pinks and white fill the composition with an ethereal blend of colour. The woman's eyes and lips pop with...

This late 19th-century Mexican oil painting depicts the Christ child as ‘El Nino de Atocha’. El Nino de Atocha is a popular subject of Mexican retablo art and its roots can be trace...

This mid-18th-century Dutch oil painting depicts a seated 17th-century gentleman within a room by a forge. During the 17th century, the Netherlands flourished as a hub for trade and...

Portrait of a Noble Young Girl, aged 9, in a black dress with lace ruff and cuffs, Dated 1619 Circle of Cornelis van der Voort (1576- 1624) Oil on cradled panel Presented by Titan ...

The Young Family of Cats by Josef Schmitzberger (1851-c.1936) German signed oil on canvas, unframed canvas: 24 x 29.5 inches provenance: private collection, England condition: very g...

An impressionist study of a WWII RAF pilot. Presented in a fine wooden frame with a grey coloured mount. Signed by the artist to the upper left corner and dated 1942. On paper.

A striking head and shoulders portrait of a women wearing an elaborate occasion hat. Presented in a red frame with a pale purple slip. Unsigned. On canvas on stretchers.

'Shujaa' by Ignacio Trelis, is a contemporary portrait painting of a African Tribal woman wearing a ceremonial headdress. Reds, browns and black's create a moody, atmospheric work. ...

'Caligne' by Ignacio Trelis, is a contemporary figurative painting. Showing a beautiful woman with long black flowy hair being circulated by a black flying crow. Blue swirls encompas...

Portrait of Young Girl in Blue Dress John Hodgson Campbell (British 1855-1927) signed and dated 1881 oil on canvas, framed framed: 35 x 30.5 inches canvas: 30 x 25 inches provenance:...

‘A Montenegrin Girl’ by Nathaniel Sichel (1843-1907). This large fine 19th century oil on canvas is signed by the artist and hangs in a superb quality carved and gilded Orientalist f...

A charming portrait study of a Rabbi in profile. He hold four species of Sukkot which are lulav (palm branch), hadas (myrtle), arava (willow) and etrog (citron). Signed to the lower ...

Portrait Of A Lady, early 20th Century School of Roger FRY (1866-1834) Large early 20th century portrait of a lady, oil on canvas. E...

Oil on canvas Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt frame This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. It is possible that this sitter is Miss Anne Dutton. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

A very delicately painted small scale portrait on marble of a handsome young gentleman. Superb detail and colour - a very striking piece and a rare example of a work by this first ra...

A very delicately painted portrait miniature on marble of a distinguished looking gentleman. Superb detail and colour - a very striking piece and a rare example of a work by this fir...

Oil on oak panel Image size: 14 1/4 x 11 3/4 inches (36 x 30 cm) Period style frame This portrait shows Chaucer with a string of beads in one hand and a writing implement in the other. The Arms in the top left of the picture are the Arms of Chaucer, featuring a per pale argent and gules, a bend counterchanged. This painting appears to derive, like all other portraits of Chaucer, from an illustration in an early fifteenth-century manuscript, Hoccleve's De Regimine Principum. Here Hoccleve included one portrait of Chaucer, showing him with an inkhorn around his neck and holding a rosary in one hand. Since it is likely that Hoccleve had met Chaucer, many scholars believe this could be the most genuine representation of the English writer with all other depictions being seemingly based on it. In almost all portraits of Chaucer, including this one, the poet is shown wearing a pendant attached to his vest. This item is often considered to be a penner, included in the artworks as a sign of the general occupation of a writer. Whilst the pendant is generally accepted as a case for a writing instrument, possibly with equal plausibility, it has also been suggested that the item is an ampulla, a small lead vial containing water and the blood of St. Thomas Becket...

The English Gentleman in his study English artist, circa 1820's Fine Georgian period portrait of an English gentleman seated and depicted in his study at home. Exceptional details fr...

A charming Dutch school study of a mother breast feeding her child in a garden. Ther pair sid on a step surround by floral borders and garden tools. Unsigned. Presented in an ornate gilt frame with intricate acanthus scrolling and a lambs tongue...

A fun and stylish mid century study of a woman walking through wildflowers with shopping in hand. The woman's updo, loud patterned sweater and cateye sunglasses make for a vibrant co...

A simply beautiful French Impressionist School oil on canvas of an elegant woman wearing a white blouse and black skirt and hat seated in a chair reading. Her parasol rests against t...

This beautiful mid-19th-century oil painting by British artist Charles Dickinson Langley (1799-1873) depicts a mother and child before a landscape. Little is known about Langley, wh...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Suffolk School, early 19th century Portrait of a Country Gentleman oil on canvas, unframed canvas: 30 x 25 inches provenance: private collection, Suffolk condition: very good and sou...

Portrait of Man with Hat by Jacob Markiel (Polish 1911-2008) *See notes below oil on board, unframed board: 15 x 11.5 inches provenance: the artists estate, south of France condition...

A charming oil study depicting a man playing the accordion on the streets of Bath, Somerset. The artist captures the man in a dark, atmospheric palette with his face half shadowed fr...

Madeleine CARPENTIER (1865-1949) Portrait d’un home a la casquette c1895 A characterful portrait of a man wearing a cap by Madeleine Carpentier. Unsigned, but bearing an old label v...

This lovely British Victorian genre oil painting is by noted artist Joseph Clark. Painted in 1881 it is a charming composition of three young children playing with a doll on the floor of a cottage by the hearth. Historically it has been entitled Children at Play but also known as Playing Doctors according to the literature. There is lovely colouring and detail. A very sweet British Victorian genre oil painting by a much collected artist. Signed and dated 1881 lower right. Provenance. Joseph Clark ; A Popular Victorian Artist and his Work by Eric Galvin. Plate 23. Children at Play (1881) Page 132f. Condition. Oil on canvas, 29 inches by 22 inches and in good condition. Frame. Housed in a gilt frame, 36 inches by 29 inches and in good condition. Joseph Clark (1834-1926) was born near Dorchester, Dorset. He studied painting in London under J. M. Leigh (1808-1860), who was himself the only pupil of William Etty, RA (1787-1849), the celebrated painter of classical and historical subjects. Clark specialised in depicting domestic genre subjects of a tender nature which generally featured children and he also painted a small number of biblical subjects. In 1857 at the age of twenty three he exhibited his first painting at the Royal Academy and he continued to exhibit there for all but two of the subsequent forty seven years. Many Victorian painters sought to demonstrate their social conscience through emphasising in their paintings the importance of family life and Joseph Clark was no exception. Whilst avoiding the overly sentimental style of some of his contemporaries, he frequently chose subjects which sought to remind people of their good fortune in having a caring family at a time when many children grew up as orphans in workhouses. Clark enjoyed considerable success with his paintings, maintaining both a London house and a home in the country for much of his life. In 1876 he was awarded a medal in Philadelphia for his paintings 'The Sick Child...

Sybil, 18th Century Italian School Large 18th Century Italian Old Master depiction of a Sybil, oil on canvas. Excellent quality and condition depiction of ...

A charming oil portrait depicting the head and shoulders of a woman wearing a pink shawl and lace bonnet. The artist frames the woman's face in a wreath of ivy and honeysuckle. Unsig...

This stunning British 19th century Pre-Raphaelite portrait oil painting is attributed to famous Manchester born artist and elected associate of the Royal Academy, Annie Louisa Swynne...

A fine 19th Century portrait of a smiling man with a handsome mustache in a fetching hat. The artist has signed somewhat illegibly and dated to the lower r...

A stylish portrait of a fashionable aristocrat dating to the late 18th century. Her hair is bedecked with pearls and worn in a style popular in the 1790’s. Her apple green gown is d...

A charming study of a grey horse, painted by equine artist Cerise Boyle (1875-1951). The oil has been signed to the lower right. Beautifully presented in a rustic wood frame. On wood...

A late 19th century British Society portrait oil painting of a beautiful young debutante by Victorian artist Annie Louisa Swynnerton which is signed and dated 1893. It has been sugge...

A charming study of Nicolaes Maes' 1657 work 'Young Girl Threading a Needle'. The artist depicts the young girl working diligently on her needlework in an interior. Behind her a map ...

PORTRAIT IN AN INTERIOR Size: 57 x 49.5 cm (including frame) Oil on board A beautifully executed and subtle mid century modernist portrait, executed in oil onto board. This semi-ab...

A delightful portrait of Scout Master Mr Lyddieth. The portrait was presented to him after 30 years of service to the Boy Scouts. Extensive provenance has been kept with the painting, this includes an exhibition label from the Bath Society of Artists, 1955. Exhibition booklet from 1955 and a typed letter...

"A Quiet Smoke" by Fritz Muller (German, 1913 - 1972) signed oil painting on board, framed framed: 16 x 14 inches board: 14 x 11.5 inches provenance: private collection, England cond...

The Scottish Fisherman British School, late 19th century oil on board, framed framed: 16 x 14 inches board: 11.5 x 9.5 inches provenance: private collection, Scotland condition: good...

In this touching composition a young woman has been depicted wearing a dark coloured dress, draped at the bodice with a gauzy silk scarf and with pearls and large diamonds, over a wh...

A fine Victorian portrait in oil, showing a woman in black, with neatly ringletted hair and a crisp white lace bonnet and shawl, decorated with foliate patterns. The white of her lac...

Oil on oak panel Image size: 17 1/4 x 22 1/4 inches (44 x 56.5 cm) Period oak frame This is a portrait of a Tudor gentleman in an open next shirt with one hand raised to his chest. ...

'Painter with Pati' is a self portrait of the artist himself and his life model Pati. Pati wears a bright pink ball gown whilst the artist is depicted in a mirror behind her. Highly detailed with an incredible vibrant colour palette, and a work that would make a great addition to any collection. Robert...

A Venetian Gentleman 18th Century Venetian School oil painting on board, framed framed: 7.25 x 6 inches board: 5.25 x 4 inches provenance: private collection, UK condition: some scu...

Portrait of a Family English School Mid 19th Century oil on canvas, unframed canvas: 28 x 36 inches provenance: private collection, Midlands, England condition: very good and sound c...

Jeremy Andrews Born 1974 Self Portrait Oil on canvas, signed Image size: 10 x 14 inches Framed Jeremy Andrews works in oils and uses traditional techniques such as under painti...

Louise Jopling (1843-1933) Miss Enthoven A charming portrait of Miss Enthoven, thought to have been exhibited at the Dudley Gallery, London in the winter of 1878 under the title 'Portrait of Nelly - daughter of S Enthoven Esq.' Signed, dated, inscribed verso on the artist’s label and presented in its original kit-kat style frame.. Louise Jopling was one of the most highly regarded portrait artists of her time. Her sitters were the high society glitterati of the late Victorian era. Many examples of her work, for comparison, can be found on the artuk website. I am indebted to Dr Patricia de Montfort, Curator for Whistler Studies at the University of Glasgow for this research and the inclusion of this work in her catalogue raisonné. Credit Wikipedia Louise Jane Goode was born in Manchester, the fifth of the nine children of railway contractor Thomas Smith "T.S." Goode and his wife Frances. She married at seventeen to civil servant Francis "Frank" Romer. The Baroness de Rothschild, a connection of Romer's, encouraged Louise to pursue and develop her art. In the later 1860s, she studied in Paris with Charles Joshua Chaplin and Alfred Stevens, and first exhibited her work at the Salon. She entered works into the Royal Academy shows, 1870–73 (as Louise Romer). After Romer's 1872 death, she married Vanity Fair artist Joseph Middleton Jopling in 1874, who in 1888 was best man at Whistler's wedding to Beatrix Godwin. Of the children from her first marriage only one son, Percy Romer, survived childhood. She had another son, Lindsay Millais Jopling, by her second marriage; the child was named after his two godfathers Sir Coutts Lindsay, founder of the Grosvenor Gallery and John Everett Millais. She achieved fair success in her career: her painting Five O'Clock Tea was sold for £400 in 1874. Her Five Sisters of York was shown at the Philadelphia Exposition in 1876, and her The Modern Cinderella at the Paris Exposition of 1878. Yet she was not immune to the gender discrimination of her time: in 1883 she sought a portrait commission for 150 guineas, but lost it to Sir John Everett Millais, who was paid 1000 guineas for the same project. Jopling exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. She joined the Society of Women Artists (1880) and the Royal Society of Portrait Painters (1891); she became the first woman to be admitted to the Royal Society of British Artists (1901). During the years of her marriage with Jopling, she became the primary earner of the family. It is said that, "She found this responsibility weighty and stressful, necessitating constant production, regular sales and a continual search for commissions and clients. In 1879, despite her own illness and that of her son Percy, she produced eighteen works." Social life Jopling "painted portraits of titled sitters, wealthy financiers and actresses" and, to operate in this social milieu, she maintained a fashionable lifestyle, with a Chelsea studio at 28 Beaufort Street, designed by William Burges. She moved in a social circle that included James McNeill Whistler, Oscar Wilde, Kate Perugini (née Dickens) and Ellen Terry. Augustus Dubourg dedicated his 1892 play Angelica to her. In 1887 the society magazine The Lady’s World described her social circle, One year we have her portrait, magnificently sketched by Millais, adorning the walls of the Grosvenor; next season she figures as the heroine of a ‘society’ novel from the pen of a popular writer. One week we see her salon drawn by Mr. Du Maurier in Punch, with sketches from the life of herself and her friends; the week after she appears under another name as the heroine of one of those quasi-malicious town and country tales which amuse the readers of a society paper… Over the mantelpiece hangs the portrait, by her old friend Sir John Millais...