(circle of) Pierre Mignard

Portrait of Gentleman in Lace Cravat & Armour 1680’s Painting, Fine Carved Frame

circa 1680's

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

Titan Fine Art present this exquisite portrait, that formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. The full provenance of our painting, which hung in The Saloon (see photo), is known from its creation right through to now – an extraordinary fact considering its age. This exquisite Grand Manner work is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted full length within surroundings that conveyed cultivation and an elite status – a classical porch with a colossal column. The beautiful colour combination of the azure silks of the dress, the mauve curtain and the sumptuous scarlet wrap imbue the portrait with a sense of luxury and emphasise the fact that this lady was a paragon of the wealthy and privileged society that she belonged to, with the means to commission a notable artist. Portrayed without the use of excessive props and jewellery, the artist knew that the sitter’s beauty was more than enough to captivate the audience. The clothing and hairstyle help to date the portrait to circa 1705. For any respectable woman at this time her skin is sheet white which was highly end vogue. A remarkable care is exercised in rendering of the flesh and the treatment of the drapery, with its delicate folds and virtuoso in the art of conveying the texture of the fabrics. The clear fresh palette, bright eyes, and rendering is exquisite. On the lower right of the portrait is an identifying inscription: 'Lady Tipping / Daughter of Coll. Cheek'. Anne Tipping, née Cheke, was the daughter of Colonel Thomas Cheke (1628-1688) and his wife Letitia, née Russell (1649-1722). Her father was appointed Lieutenant of the Tower of London under King Charles II in 1679 and he held that position until 1687 when James II removed him from office. At the age of 22 Lady Tipping married Sir Thomas Tipping, 1st Bt. (1653-1718) with whom she had three children, Catherine, Letitia, and Thomas. Through her father, Anne inherited the manor of Pyrgom in the village of Havering-atte-Bower, Essex. The house had previously belonged to Henry VIII, and it was here that he made the decision to restore the princesses Mary and Elizabeth to the succession to the throne. In 1724, Anne helped to found the Dame Tipping school in Havering-atte-Bower, which was endowed from her death in 1728 by a legacy in her will. Anne was lucky to have independent means, as her husband led a tumultuous life, dying in debt in Southwark prison. Anne died when she was just forty-eight years of age and is buried at Havering. Our sitter’s daughter, Letitia Tipping, married Samuel 1st Lord Sandys in 1725. In 1727, she inherited her family’s heirlooms including the possessions of her great uncle Admiral Russell, Earl of Orford. The 1st Earl of Orford (1653-1727) was one of the Immortal Seven who issued the invitation to William III to take the throne. Commander in Chief of the Royal Navy in the Nine Years War, he defeated the French fleet at Barfleur and La Hogue and is an important historic figure. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. The work has been well preserved and cared for over its circa 325 years of age, only requiring the removal of a discoloured varnish recently – now the fine details and the true colours can be appreciated. The work can now be safely and fully enjoyed by future generations. Presented in a striking ebonised frame with applied carved and pierced gilded foliage, which is a work of art in itself. Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture at the turn of the seventeenth century. With Van Dyck, Lely and Reynolds, his name has become synonymous with the visual interpretation of British history – not least because he painted almost every person of prominence in forty years of British public life. This reputation was well-deserved, and although Kneller's age embraced many accomplished painters - John Closterman, for example, Jonathan Richardson the Elder, or Michael Dahl- none came close to Kneller in immediate fame, or in such instant association in the popular mind with the exercise of portraiture. Kneller is remembered for having painted ten ruling sovereigns, including every reigning British monarch from King Charles II to King George I. Provenance By descent to the sitter's daughter, Letitia Tipping (1699-1779), wife of Samuel Sandys, 1st Baron Sandys (1695-1770), and by descent to their son, Edwin Sandys, 2nd Baron Sandys (1726-1797), and by inheritance to his niece, Mary, Marchioness of Downshire and 1st Baroness Sandys (1764-1836), and by descent to her second son, Lieutenant-General Arthur Hill, 2nd Baron Sandys (1792-1860), and by inheritance to his younger brother, Arthur Marcus Sandys, 3rd Baron Sandys (1798-1863), and thence by descent to, Richard Hill...

Titan Fine Art present this striking portrait, which was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill. Gre...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

Charles Jervas (1675-1739) Portrait of Joseph Mellish (1675-1733) Oil on canvas; held in a carved period frame Dimensions refer to size of frame. Provenance: Blyth Hall, Nottinghamshire, England; by descent to Sir Andrew Buchanan of Hodsock Priory, Nottinghamshire In 1635 John Mellish, a merchant tailor of London, bought the estate of Blyth in Nottinghamshire. His son, a wealthy Oporto merchant, dying unmarried, left Blyth in 1703 to a cousin, Joseph Mellish, who became one of Newcastle’s earliest and most important political supporters in the county. He went up to Clare College, Cambridge in 1692 and on to the Inner Temple the following year. He married Dorothea Gore, daughter of Sir William Gore...

Henry Pickering, Portrait of a Gentleman Oil on canvas; signed and dated 1759; held in a giltwood period frame Provenance: Lenygon & Morant Ltd. c.1900; Knoedler, October 1912 (Sto...

This oil on canvas painting is of an agricultural worker in the Hudson Valley. The artist painted migrant workers on a farm in this series of works. His smiling face is a sharp contr...

This exceptional oil on canvas portrait is monogrammed lower center "CGLT" and dated 1801. Probably German and housed in a 19th century gilt wood frame. Details in the background inc...

A fine oil painting portrait of (Sarah) Angelica Singleton Van Buren by American portraitist Sanford Mason (1798-1862). Mason was born in Providence, Rhode Island, and was known as a sign painter and portrait artist. The sitter, Sarah Angelica Singleton Van Buren, was an American heiress and the daughter-in-law of the eighth president of the United States, Martin Van Buren...