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Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting
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sold SA1146486
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Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

17th century
Sold 1 August 2025 · Titan Fine Art
This “Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting” found a buyer.

It was listed by Titan Fine Art. Sold pieces stay on Sellingantiques as a record of what has passed through, and the next one is rarely far away.

Description

This impressive portrait depicts King William III, when he was Prince of Orange. The military-minded William III is portrayed as the archetypal commander – serious and authoritative. He wears full armour of highly polished steel and holds a baton of command, and in the left margin is a helmet with a large scarlet plume and in the distance is a military engagement. Many portraits of William III show him in armour, a symbol of his kingship, often reflecting the style set by the Italian and Flemish artists Titian and Rubens in their depictions of kings and rulers ready for battle.

Sir Peter Lely settled in England in c.1641, becoming the leading portrait painter, with many assistants and pupils in his studio practice. At the Restoration he was appointed Principle Painter by King Charles II. This painting is based on a type by Lely of c.1674, an earlier variant of which can be found in the Royal Collection, and this particular composition was favoured by Lely for his royal and ducal portraits. Five other versions are known to exist, not including one commissioned by James II from Lely’s pupil, Willem Wissing, in 1685. The portraits became very popular and the studios met this demand by producing many duplications and versions, thus adorning the walls of many English great halls. Our portrait was most likely painted around 1680.

Prince William of Orange was highly important in the politics of Europe. He had been Captain General of the Dutch United Provinces in their war against the armies of Louis XIV and was an important figure to the Protestant cause in England. In 1677, William married his cousin Mary, who was the eldest daughter of James, Duke of York, brother of Charles II and heir to the English throne. James and his wife were Catholic and Protestants worried that any son born to the couple would eventually become a Catholic king.

Charles II died in 1685 and James became King James II and many in Protestant England were deeply suspicious of the new Catholic monarch. When his wife gave birth to a son it confirmed their worst fears of a Catholic succession. This meant that Mary was no longer next in line to the throne. Alarmed by the situation, a group of James's Protestant opponents secretly invited William to invade England and oust his father-in-law.

William’s mighty invasion force landed in Devon in November 1688. Many Englishmen supported William and, after some prominent English nobles defected to the invader, James II chose not to fight. He was subsequently captured and then allowed to escape to exile in France. Early in 1689, the English Parliament formally offered William and Mary the throne as joint monarchs. The new monarchs could not rule with the same power as previous monarchs enjoyed. They accepted Parliament’s ‘Declaration of Rights’ (later called ‘Bill of Rights) which restricted the king’s power and marked an important transition towards the system of parliamentary rule that exists to this day. Later that year James landed in Ireland with French troops supplied by William of Orange’s sworn enemy, Louis XIV. In response William raised a huge invasion force, the largest Ireland had ever seen, and he decisively defeated James at the Battle of the Boyne. In Europe, William was successful in his lifelong struggle to contain the military ambitions of Louis XIV.

Mary II died of smallpox on 28 December 1694, aged 32, leaving William heart-broken to rule alone. Despite his conversion to Anglicanism, William's popularity in England plummeted during his reign as a sole monarch and in 1702 William died of pneumonia and was buried in Westminster Abbey alongside his wife. His sister-in-law and cousin, Anne, became queen regant of England, Scotland and Ireland.

Measurements: Height 124cm, Width 149cm framed (Height 48.75”, Width 58.75” framed)

Physical Dimensions
Height
142cm (55.91")
Width
149cm (58.66")
Depth
8cm (3.15")
Declaration

Titan Fine Art has dated this Baroque Oil Painting to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA1146486
Dealers Notes

Much more info about this item at: www.titanfineart.com

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With over 20 years of expertise and 1,000+ works placed with collectors and institutions, we are one of the most prolific specialists in 17th and 18th-century portraiture. We combine a scholarly approach with museum-level rigor to replace the uncertainty of the open market with absolute confidence.

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Description
This impressive portrait depicts King William III, when he was Prince of Orange.
“
The military-minded William III is portrayed as the archetypal commander – serious and authoritative.
Titan Fine Art

He wears full armour of highly polished steel and holds a baton of command, and in the left margin is a helmet with a large scarlet plume and in the distance is a military engagement. Many portraits of William III show him in armour, a symbol of his kingship, often reflecting the style set by the Italian and Flemish artists Titian and Rubens in their depictions of kings and rulers ready for battle.

fig 1. An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
fig 1. Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

Sir Peter Lely settled in England in c.1641, becoming the leading portrait painter, with many assistants and pupils in his studio practice. At the Restoration he was appointed Principle Painter by King Charles II. This painting is based on a type by Lely of c.1674, an earlier variant of which can be found in the Royal Collection, and this particular composition was favoured by Lely for his royal and ducal portraits. Five other versions are known to exist, not including one commissioned by James II from Lely’s pupil, Willem Wissing, in 1685. The portraits became very popular and the studios met this demand by producing many duplications and versions, thus adorning the walls of many English great halls. Our portrait was most likely painted around 1680.

fig 2. An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
fig 2. Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

Prince William of Orange was highly important in the politics of Europe. He had been Captain General of the Dutch United Provinces in their war against the armies of Louis XIV and was an important figure to the Protestant cause in England. In 1677, William married his cousin Mary, who was the eldest daughter of James, Duke of York, brother of Charles II and heir to the English throne. James and his wife were Catholic and Protestants worried that any son born to the couple would eventually become a Catholic king.

fig 3. An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
fig 3. Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

Charles II died in 1685 and James became King James II and many in Protestant England were deeply suspicious of the new Catholic monarch. When his wife gave birth to a son it confirmed their worst fears of a Catholic succession. This meant that Mary was no longer next in line to the throne. Alarmed by the situation, a group of James's Protestant opponents secretly invited William to invade England and oust his father-in-law.

fig 4. An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
fig 4. Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

William’s mighty invasion force landed in Devon in November 1688. Many Englishmen supported William and, after some prominent English nobles defected to the invader, James II chose not to fight. He was subsequently captured and then allowed to escape to exile in France. Early in 1689, the English Parliament formally offered William and Mary the throne as joint monarchs. The new monarchs could not rule with the same power as previous monarchs enjoyed. They accepted Parliament’s ‘Declaration of Rights’ (later called ‘Bill of Rights) which restricted the king’s power and marked an important transition towards the system of parliamentary rule that exists to this day. Later that year James landed in Ireland with French troops supplied by William of Orange’s sworn enemy, Louis XIV. In response William raised a huge invasion force, the largest Ireland had ever seen, and he decisively defeated James at the Battle of the Boyne. In Europe, William was successful in his lifelong struggle to contain the military ambitions of Louis XIV.

fig 5. An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
fig 5. Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

Mary II died of smallpox on 28 December 1694, aged 32, leaving William heart-broken to rule alone. Despite his conversion to Anglicanism, William's popularity in England plummeted during his reign as a sole monarch and in 1702 William died of pneumonia and was buried in Westminster Abbey alongside his wife. His sister-in-law and cousin, Anne, became queen regant of England, Scotland and Ireland.

Measurements: Height 124cm, Width 149cm framed (Height 48.75”, Width 58.75” framed)

Height
142cm (55.91")
Width
149cm (58.66")
Depth
8cm (3.15")
Date of Manufacture

Titan Fine Art has dated this Baroque Oil Painting to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA1146486
Titan Fine Art
Titan Fine Art
Sellingantiques verified Since Jul 2016

Specialist in 17th & 18thc portraits. Highly curated selection, museum-level research & pro conservation. Exceptional art, expertly vetted.

Dealer Profile

You can view the stock and full dealer information on the Titan Fine Art Profile Page

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An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. SOLD6+ MONTHS AGO
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Archive I An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. SOLD6+ MONTHS AGO

Portrait of William of Orange (1650–1702), Later William III Before a Battlefield C.1680; Circle of Peter Lely (1618-1680), Oil on Canvas Painting

Archive II An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View II
Archive III An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View III
Archive IV An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View IV
Archive V An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View V
Archive VI An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View VI
Archive VII An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View VII
Archive VIII An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame. View VIII
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Dealer Profile Page sellingantiques.co.uk/titan
Verified Since Jul 2016
Items For Sale 24
Items Sold 402
Titan Fine Art
Titan Fine Art
Verified Since Jul 2016
View Dealer Info
Location: London, United Kingdom
Verified
Jul 2016
For Sale
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Sold
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An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
Portrait of William of Orange (1650–1702), later William III before a Battlefield c.1680; Circle of Peter Lely (1618-1680), Oil on canvas painting
Ref: SA1146486
An oil on canvas portrait of a military figure in armor, set within an ornate carved and gilded wooden frame.
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Archival Detail
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Written by Sellingantiques from the dealer’s photographs and listing
  • ObjectPaintings
  • Period17th century
  • StyleBaroque
  • MaterialOil paint, canvas, wood, gilt
  • ColourGold
  • MotifsChiaroscuro lighting, Carved acanthus frame, Armor and military baton, Battlefield background
  • SizeH 142 cm (56 in) x W 149 cm (59 in) x D 8 cm (3 in)

Baroque portraiture is characterised by dramatic lighting, deep shadows, dynamic compositions, and a focus on capturing grandeur, psychological depth, and movement.

These artworks typically utilized oil paint applied to hand-stretched linen or canvas, supported by wooden stretcher frames and housed in hand-carved, gilded wooden frames.

Authentication involves examining canvas weave, pigment composition, craquelure patterns, stretcher frame construction, and artist signatures or historical provenance records.

Pairing a formal historical painting with minimalist contemporary furniture or hanging it against a moody, saturated wall colour creates a striking visual contrast.

Keep the artwork away from direct sunlight and fluctuating humidity levels, clean the canvas gently with a soft dry brush, and avoid chemical cleaning agents.
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