18th Century and Earlier Portrait Paintings

Guido Reni (Bologna 1575 - 1642) Workshop of Saint Catherine of Alexandria (full details LINK) Oil on canvas Measurements (cm): 96 x 73 - with frame 112 x 88 This splendid work dep...

This superb British Old Master portrait oil painting is attributed to circle of noted artist Michael Dahl. Although born in Sweden, Dahl lived and worked most of his life in England ...

17th-century Genoese School Workshop of Valerio Castello (Genoa, 1624 - Genoa, 1659) Ecce homo Oil on canvas 117 x 99 cm. In frame 138 x 118 cm. The Ecce Homo, the subject of our ...

Portrait signed Darbes, 1781. Russo-Baltic period, Riga address on the reverse Oil on canvas, oval format, 61 × 46.5 cm Signed on the left and dated 1781, this portrait is by Joseph...

Antonio Tempesta (Florence 1555 - Rome 1630) Circle Saint James defeating the Moors in battle Oil on canvas 112 x 102 cm - Framed 125 x 114 cm A valiant knight with his sword...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

Pastel on paper stretched on canvas Each 23 ¼ x 19 ¾ inches; 59 x 50 cm Framed dimensions, each: 83 x 67.5 cm Both signed ‘F. Cotes Px 1751’ Collections: Captain Penton; Christie’...

A fine, imposing 18th century portrait of an unknown aristocrat,housed in a gilt frame The artist is also unidentified but certainly a talented hand, in the circle of one of the fine old masters of the period. Unsigned The size overall is 148 x 121 cm whilst the painting is 128 x 101 cm In overall good condition the frame at the bottom has bowed slightly The painting has been checked whilst being cleaned and has not been affected in any way . SHIPPING Free delivery to mainland uk ,worldwide shipping available please email for quote Delivery usually within 14 working days, insured please provide telephone/email details for courier. All taxes/customs etc to be paid for by purchaser. RETURNS (The Consumer Contracts Regulations) Whilst we are sure that you will be extremely happy with your purchase, if for any reason you are not, then you are entitled to return the item to us for a refund. For all purchases made you are entitled to return the item(s) for a period of up to 14 days following receipt by you or a representative indicated by you. Please contact us to confirm that you are returning the item(s) and the reason for doing so. Upon receipt of the item(s) we will refund the purchase price via your original payment method...

Very good condition with original canvas, stretcher and frame.

Miniature Portrait French School, late 18th/ early 19th century framed: 5.5 x 5.5 inches board: 2 x 2 inches provenance: private collection, France condition: very good and sound c...

A group portrait of the Southwell family on the terrace with a negro page and Macaw. Oil on canvas Signed and dated 1731 Canvas size 25 x 30 ¼ inches 63.5 x 77 cms Frame exterior 32 x 37 ¼ inches 81 x 94.5 cms This evocative family portrait offers a glimpse into the life of 18th Century English nobility. The Southwells are a noble family whose roots go back to the early 17th Century. In 1776 Edward Southwell III was granted the Barony of de Clifford (a title in abeyance at the time), and the line extends to today, with the 28th Baron de Clifford sitting in the House of Lords. Charles Phillips (1708-1747) was a leading portraitist of his time, having painted many noble and royal portraits. Two of his paintings are part of the Royal Collection Trust. In this portrait, signed and dated 1731, we see Edward Southwell Sr (1671-1730) and his family on the grounds of their Estate, Kings Weston House near Bristol. On the far left is Mrs. Helena Le Grand (Edward’s sister). Next to her is Mrs. Southwell (Edward’s second wife, the first having died in 1709). On the right is Edward Southwell Jr (1705-1755), Edward’s son by his first marriage and next to him a “Negro Page” (in the euphemistic words of an old label on the painting; more on him below.) Phillips has arranged the figures in an arc, anchoring the composition. The arc stretches from Mrs. Le Grand’s red dress on the left, through the colourful parrot, onward to the heads of Mr. and Mrs. Southwell, down again to the younger Southwell and finishing on the right with the enslaved boy. As Edward Sr. died in 1730, this must be a posthumous portrait, making it especially poignant. (Presumably Phillips used another portrait to capture his likeness.) One can imagine the late Edward’s family looking affectionately at the portrait, remembering the time spent with him on the grounds of Kings Weston House. Southwell stands between wife and son, eyes directed toward one, hand pointed toward the other, symbolically balancing the needs of both. Devoted husband and father? Perhaps. Slave-owner as well. English noble families of the 18th Century often had financial and practical connections with the slave trade. The Southwells themselves were granted a tract of land by the Crown in 1766, which Edward Southwell III (1738-1777) – the son of the younger Southwell in the portrait – developed with partners into a plantation worked by slave labour. This portrait shows us that slave ownership was not always a matter for distant colonies. This young boy, likely deprived of his freedom from birth (born to enslaved parents), was made to serve the Southwell family in their home. We see him here sitting half cross-legged, wearing a house servant’s uniform and a faint smile. He gaze is turned upward; at first we think is looking at his Master, then we realise he must be in fact enjoying the sight of the parrot eating from the hand of his Master’s sister. Phillips has placed him on the ground, beneath the rest of the family in pose as in station. Yet here he is in this portrait just the same, as if he were a member of the family. Was the family fond of him? Was he a playmate of the younger Southwell? Or was he simply there in the Garden that day to serve them their refreshments? The answers to these questions must remain unanswered, known only to the sitters frozen in time by Phillips’ paintbrush. Three centuries later we are fortunate to have this portrait as a snapshot of 18th Century England, both its nobility and its baseness. Charles Philips, the son of a portraitist, likely acquired his artistic skills from his father. He specialised primarily in painting small portraits and conversation pieces. George Vertue observed that in painting small figure portraits and conversation scenes, Philips gained significant recognition and patronage among fashionable circles, including members of the Royal Family. In 1732, he produced conversation works for the Duchess of Portland and the Duke of Somerset. During the 1730s, his conversation pieces became increasingly complex, featuring more numerous subjects engaged in a greater variety of activities. Following the precedent set by contemporaries such as Philippe Mercier and William Hogarth, both prominent painters of small-scale conversation pieces, Philips transitioned into the more lucrative field of portrait painting later in the decade. His career peaked in 1737 when he painted full-length portraits of the Prince and Princess of Wales. The Prince of Wales was renowned for his patronage of the arts, particularly towards immigrant artists including Jacopo Amigoni and Philippe Mercier, who were principal influences on Philips. Two of Philips' paintings in the Royal Collection depict fashionable London clubs not recorded elsewhere. The first, from 1732, shows Frederick...

Portrait Of A Nude Male, 18th Century School of Jacques-Louis David (1748-1825) 18th Century French School portrait of a nude male, oil on paper laid to board. Excellent quality an...

Portrait of Barbara Herbert, Countess of Pembroke c.1708 Charles d’Agar (1669-1723) This magnificent large-scale portrait, presented by Titan Fine Art, depicts the British court of...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Portrait of a Lady in an White Silk Dress & Red Drapery Signed and Dated 1739 John Vanderbank (1694–1739) This is an exceptional, rare, and highly desirable late work by John Vander...

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

The Pieta, 17th Century circle of TINTORETTO (1518-1594) Large 17th century Italian Old Master depiction of The Lamentation Of Christ, oil on canvas. Excellent quality and large s...

Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the e...

Bartholomäus Spranger (Antwerp, 1546 – Prague, 1611) workshop Aristotle and Phyllis Oil on canvas 64 x 54 cm In frame 79 x 72 cm The curious subject of this painting, quite...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

Portrait of a Lady, Mrs Wray in a Silk Dress & Pink Wrap c.1698 Circle of Michael Dahl (1659-1743) This delightful work, presented by Titan Fine Art, is a fine example of British po...

Jan van Gelder, Italianised as Giovanni Vangheldri (Antwerp 1621 – Modena 1685) Portrait of the Duchess Vittoria Farnese d'Este (Parma, 1618 – Modena, 1649) wife of Francesco I d'E...

Scipione Pulzone (Gaeta, 1544 – Rome, 1598) workshop of Madonna Oil on canvas 55 x 43 cm Framed 63 x 51 cm This delicate yet intense portrait depicts the Virgin Mary, her h...

Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...

Lombard painter of the 17th century Portrait of a Knight in Armour Oil on canvas 81 x 70 cm./ Framed 93 x 82 A handsome gentleman in armour, immortalised in an authoritative and pr...

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...

A striking portrait featuring a figure in 17th-century dress. He sports a red cap and dark clothing against a shadowy background, masterfully capturing the subject's intense gaze and...

French portrait of a nobleman, 17th Century, great condition. With a beautiful carved wooden frame.

This superb Dutch Golden Age portrait is attributed to circle of Dutch artist Wybrand Simonsz de Geest. Painted in 1666 it is a full length portrait of a young William Stonestreet. He is holding the paw of a clipped little white dog with drapes and clouds beyond. (It was common practise to dress young boys in dresses up to the age of about 6 or 7 when they were 'britched' or wore britches). An excellent example of Dutch Golden Age art that wouldn't look out of place in a museum. Wm Stonestreet 1666, Prebend of Selsely is inscribed top left. Provenance. Berkshire estate. Condition. Oil and canvas, 44 inches by 36 inches and in good condition. Frame. Housed in an ornate gilt frame, 52 inches by 44 inches and in good condition. Wybrand Simonsz. de Geest (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland in the Netherlands. Wybrand de Geest was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle". De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh...

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...

Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...

Portrait of Louis XIV as a child (Saint-Germain-en-Laye, 1638 – Versailles, 1715) French painter active between the 17th and 18th centuries Oil on canvas 64 x 49 cm. In frame 79...

Portrait of a Young Lady, probably British c.1730–1740 Attributed to Jeremiah Davison (c. 1695–1745) What makes this portrait immediately compelling is its directness: the sitter’s ...

Venetian painter of the 17th/18th century Venus and Cupid Oil on canvas 57 x 49 cm. In frame 71 x 61 cm. The painting captures the attention with its intimate and sensual re...

Antique oil on canvas of a Russian or Polish nobleman, painted by Rembrandt van Rijn in 1637. There is much controversy about this painting, currently housed in the National Gallery of Art in Washington D.C. and has previously been owned by such luminaries as Catherine the Great and Andrew Mellon. It has been referred to as both a Polish and Russian nobleman, the sitter wears a Russian sable hat...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

Portrait of a Gentleman in Armour and Azure Cloak with Diamond Brooch c.1700 Attributed to Joseph Vivienne (1657-1735) The sitter in this superb portrait, offered by Titan Fine Art...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

French School, Rococo period original Likely to be a preparatory sketch for a larger piece. oil painting on canvas laid on board, framed framed: 1...

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Sculpture Oil on canvas 112 x 86 cm In original lacquered frame 122 x 95 cm Work accompanied by expertise ...

Virgin with Child, studio of Giovanni Pietro Rizzoli, known as Giampietrino (active Milan 1495-1550) Not signed Oil on poplar panel, h. 63 cm (24.8 in), w. 49 cm (19.29 in) Important...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

St. Nicholas of Tolentino (1245-1305) Italian School, 17th century oil painting on canvas, canvas: 10 x 8 inches provenance: private collection, Germany Very fine and rare 17th century Italian Old...

This superb British Old Master oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1795, the sitter is Major-General James Hanson Salmond (1766–1837) an office...

Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. -  In frame 74 x 58 cm.) The work depicts Saint John...

Work on canvas

Portrait of a Lady (female saint?) Italian School, 17th century oil on copper, framed frame: 9 x 8 inches board: 5 x 4 inches provenance: private collection condition: very good and ...

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Poetry (the Muse Calliope) Oil on canvas (86 x 112 cm - In original lacquered frames 122 x 95 cm.) Work ac...

Court Portrait Of Anne Of Cleves (1515-1557), Queen Of England, 18th Century English School - Oil On Oak Panel Antique court portrait of Anne of Cleves, Queen of England, oil on pa...

An Angel Playing The Mandolin, 17th Century after the fresco by MELOZZO DA FORLI (1438-1494) Large 17th/18th Century Italian Old Master of depicting an Angel playing the mandolin, ...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Frans Van Der Mijn (Düsseldorf, Germany, 1719 - London, UK, 1783) Title: Portrait of a gentlewoman Year: 1756 Medium: Oil on canvas Dimensions: without frame 71.8 × 59.5 x 2 cm Pain...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

A charming oil study depicting a woman gathering grape vines in a field. Part of a pair of oils depicting women harvesting. Unsigned. On panel.

This fine late 17th-century Flemish portrait depicts a distinguished gentleman dressed in the elaborate fashions of the 1670s. He wears a long, collarless coat known as a justaucorps...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...