England - Portrait Paintings

Signed in to the lower left. Presented in a part gilt decorative frame. On oil.

Confirmation Day, dated 1892 by Albert Chevallier Tayler (1862-1925) - Exhibited 1892 Large 19th Century Newlyn School interior scene titled "Confirmation Day", oil on canvas by A...

Well presented in a painted frame with molding detail. Signed and dated. On board.

A charming oil painting, depicting a portrait of a lady wearing a pale dress and a pearl necklace. Unsigned. Presented in a light wooden frame, as shown. On...

Signed and dated to the lower left-hand corner. On canvas on stretchers.

A fine oil portrait of a tight lipped, serious man in a yellow shirt and tie. On the reverse of the board is a naive style Eastern street scene bathed in sunlight. Both paintings are...

Full of Frauvristic qualities, pastel oils have been applied in a rich painterly manner to depict an expressive study of a nude woman. The artwork has chips to the corners, revealing...

Oil on board, signed, titled and dated '1858' on verso Image size: 10 1/2 x 18 1/2 inches (26.5 x 47 cm) Gilt frame This is a wonderful portrait that was painted by John Burr at a t...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

Oil on canvas, signed bottom left Image size: 24 x 20 inches (61 x 51 cm) Contemporary style hand made frame Joseph Biel Joseph Biel was a painter and photographer who was born in ...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Portrait of Maria Therese of Spain, Queen of France, 17th Century Circle of Henri and Charles Beaubrun Not signed This distinguished seventeenth-century portrait of Maria Theresa o...

Portrait Of William Hogarth (1697-1764) , 18th Century English School, Possibly a Self Portrait Large 18th century English School portrait of painter and satirist William Hogarth, ...

This intimate portrait depicts a seated figure in a flowing emerald green jacket, rendered with loose, expressive brushwork that captures both the subject's contemplative pose and th...

Portrait Of A Regency Gentleman, 19th Century European School - unfinished study Large 19th Century European School unfinished portrait of a gentleman, oil on canvas. Excellent qua...

The Ferry Crossing At Sunset, Norfolk, 19th Century by MILLER MARSHALL (1850-1920) Huge 19th Century sunset view of a Norfolk ferry crossing at sunse...

Oil Painting by Frank Moss Bennett "Portrait of John, Annabella and Augusta Annesley" 1874 - 1955 Popular painter of figurative scenes. Studied at the...

Portrait of a Miss Anna Davenport, dated 1853 by Charles V BOND (19th century) Large 19th Century American School portrait traditionally identified as a Miss Anna Davenport of Detr...

Fox Hunting Party & Foxhounds, 19th Century attributed to John Ferneley (1782-1860) Large 19th Century English Fox Hunting Party and Foxhounds, oil on canvas. Excellent quality and...

A large formal portrait of an elegantly dressed woman set against a dark background. A label affixed to the reverse identifies the sitter as the "wife of Dean Christie". This portrai...

Well presented in a gilt mount an modern frame. Signed to the lower right. On canvas board.

Portrait Of A Ballerina, early 20th Century by Marcel BLOCH (1882-1966) Large early 20th Century French Impressionist portrait of a ballerina, oil on canvas by Marcel Bloch. Good q...

Unsigned. On board.

A fine early 20th Century portrait,. showing a young boy playing a tin whistle. The artist has adopted an Italianate style and subject matter to create an atmospheric and eye catchin...

Thermopylae Clipper Sailing Ship at Sea - Vintage 20th Century Oil Painting by J Bishop. Art measures 25 x 30 inches Frame measures 28 x 33 inches A portrait of the famous tea clip...

A fine 19th-century portrait after Rembrandt, depicting Saskia van Uylenburgh, the artist’s wife and muse. Executed with expert brushwork and a notably delicate hand, this exceptiona...

A colourful profile portrait by Clifford Hanley, of male driver speeding along in a bright orange vehicle. The painting is signed and dated to the right-hand side. Well presented in ...

A wonderful portrait of a gentleman in profile. Completed with expressive brushwork and areas of impasto. Very well presented in a dark wood frame. Signed and dated. On board.

A striking 20th Century oil showing a young couple engaged in a passionate and fiery flamenco. The man raises his hands in a dramatic clap and the young woman swirls her red skirts a...

This vibrant, pop-inspired painting features a striking blue cat with bold green eyes, set against a rich purple background. The contrast of colours feels both modern and nostalgic, ...

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. ...

Dim light illuminates a smoking woman in an impressionistic manner. The artwork is signed and dated in the bottom right-hand corner. Well presented in a gilded wood frame with a line...

A painting of Lord Methuen’s Spaniels Gipsy and Fairy, by William Barraud, standing beside a classical urn in a landscape by a lake, probably in the grounds of Corsham Court in Wiltshire, the Methuen family country seat. Signed and dated 'W Barraud...

Newlyn School, circle of Frank Bramley is the attribution for this lovely Victorian portrait oil painting. Painted circa 1890 on panel, it is a head and shoulders portrait of a young girl in a straw hat...

This lovely British Victorian Pre-Raphaelite portrait oil painting is by Royal Academy artist Sir William Blake Richmond. Painted circa 1900 it is a stunning example of his work with...

A charming oil portrait of a well dressed gentleman holding a sociable gaze, whilst swirling a full glass of wine. Indistinctly signed to the lower right. On board.

2306G [2020] original Ink on paper Image size: H:36.5 cm x W:28 cm Complete Size of Unframed Work: H:36.5 cm x W:28 cm x D:0.1cm Sold Unframed Please note that insitu images are...

This simply superb British 19th century portrait oil painting is attributed to circle of John Constable. Painted circa 1820 it is a sumptuous half length portrait of a lady in a shor...

This charming early twentieth century Post Impressionist portrait oil painting is by British Jewish female artist Amy Julia Drucker. Of German descent, Drucker was born in England i...

Saint Anthony Of Padua, 17th Century Circle of CARLO DOLCI (1616-1686) 17th century Italian Old Master depiction of Saint Anthony of Padua, oi...

A striking 20th Century surrealist oil on canvas, showing a head, projecting strange swirling shapes from its third eye. The artist has signed to the lower right corner. The canvas i...

A characterful portrait with blue undertones in oil on board. The painting is unsigned. On board.

A fine 20th Century impasto painting showing a young woman sitting in profile next to a bunch of flowers in a large vase. The painting is unsigned. On canvas board.

An accomplished South East Asian school oil painting, signed 'Cheong'. The scene depicts a mother carrying her child, about to enter a wooden boat. The thoughtful brushstrokes and da...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

Solomon Joseph Solomon R.A. R.B.A. N.E.A.C. was an English born Jewish painter and a member of the Royal Academy and a Founding member of the New English Art Club. He studied at ...

Oil on canvas Signed, dated and dedicated (upper right) 46cm × 38cm (59cm × 51cm framed) Forichon was a pupil of the Ecole des Beaux-Arts de Paris and was taught by Jean-Léon Gérôme...

Portrait of A Girl & Toy Bear, dated 1926 by RENE MARIE JOLY DE BEYNAC (1876-1978) Large 1926 French portrait of a young girl and her teddy bear, oil on canvas by Rene Marie Joly ...

A quirky and kitsch portrait of a young woman, dressed in purple, sitting in her purple home surrounded by green plants. This captivating painting is heavi...

An expressive oil painting, depicting a portrait of Russian writer and political activist Maxim Gorky. Unsigned. On canvas on stretchers.

Nick Todhunter After John Singer Sargent, Contemporary, Oil on canvas. A head and shoulders portrait of Scottish painter, Robert Brough. Brough's life was cut tragically short at the...

Osman Salifu Love Is Beautiful, 2022 Acrylic on canvas 151.5 x 120.5 cm 59 5/8 x 47 1/2 in

A portrait of a man wearing a blue polka-dot bow tie sat against a blue background. Presented in a substantial painted and distressed frame with a linen slip. Signed to the lower-lef...

This striking portrait depicts a lady with short cropped hair posing with her arms crossed. Her right hand rests gently on her forearm in a position ideal for showing her sparkling e...

Daniel Ludwig. Residue of Yesterday- this work of art is an original oil painting on linen. Size: H:76 cm x W:61 cm Daniel Ludwig is an American figurative artist who lives and wor...

Portrait of Henry IV, King of England (1367-1413), 16th Century English School Portrait - Early Oil On Panel Large 16th Century court portrait of Henry IV, King Of England (1367-14...

Portrait of two young girls in a wooded landscape, standing full-length, one attaching a red collar on a seated white whippet and the other holding her pet black and white rabbit. Ci...

Square Abstract, Cubist Style, Green Colour, Original Oil Painting By French artist Beatrice Werlie, early 21st Century Signed by the artist on the lower right hand corner Oil paint...

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...

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry. When he decided to create art, he was naturally dra...