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Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.
For sale by Period Portraits
for sale €10,764     $11,684
£9,200
Period Portraits

Period Portraits

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Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

18th century
For Sale by Period Portraits
Description

PORTRAIT OF A BEAUTY IN A BLUE DRESS - ATTRIBUTED TO CHARLES JERVAS (1675 - 1739)

Fine, and sensitively rendered early 18th century English portrait of a beauty in a blue dress attributed to Charles Jervas (c.1675 - 1739). The elegant dark haired sitter is pictured three half-length within an oval cartouche, with a tree filled landscape and sunset background behind her.

The as yet unknown beauty is expensively dressed in the high status and fashionable brightly coloured clothing of the period, namely deep blue silk or velvet dress over a white chemise, accentuated by a warm silk ribbon (yellow/gold). Jervas was famous (and sometimes criticised by contemporaries) for his preoccupation with silk and satin textures. Happily by popularising portraying aristocratic women in loose, casual, garments as opposed to stiff court dress, his portraits often have the poetic, and casual elegance that we see here.

Our sitter is every inch the baroque beauty with her soft and luminous skin tones. Jervas no doubt learnt this technique when studying under the great Godfrey Kneller who was celebrated for his smooth and delicate rendering of skin in his portraits of high society women. She has chestnut hair which tumbles naturalistically around her shoulders and her perfect lips are shaped in a Cupid’s bow and they contrasting sharply with her pale skin.

Beneath her thin, highly arched, elongated brows, she gazes directly at the viewer and engages us with her large almond-shaped eyes.

Fine,

Charles Jervas (c. 1675 – 1739)

Jervas was an Irish portrait painter, translator, and art collector. Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.

Painting portraits of the city''s intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James''''s, which Pope mentions in his poem, To Belinda on the Rape of the Lock, written 1713, published 1717 in ''''Poems on Several Occasions''''.

With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739, although he made made lengthy visits to Ireland.

This fine work is in an excellent state of conservation and is ready to hand and enjoy in its original hand carved and gilded early 18th century frame which has a wonderful warm patina.

Higher resolution images on request.

Worldwide shipping available.

Canvas: 70cm x 65cm.

Framed: 86cm x 74cm.

Physical Dimensions
Height
86cm (33.86")
Width
74cm (29.13")
Depth
4cm (1.57")
Declaration

Period Portraits has dated this Georgian Oil Portrait Painting to the 18th Century.

Reference Numbers
Sellingantiques Reference
SA1237568
Description
PORTRAIT OF A BEAUTY IN A BLUE DRESS - ATTRIBUTED TO CHARLES JERVAS (1675 - 1739)
“
Fine, and sensitively rendered early 18th century English portrait of a beauty in a blue dress attributed to Charles Jervas (c.
Period Portraits

1675 - 1739). The elegant dark haired sitter is pictured three half-length within an oval cartouche, with a tree filled landscape and sunset background behind her.

fig 1. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 1. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

The as yet unknown beauty is expensively dressed in the high status and fashionable brightly coloured clothing of the period, namely deep blue silk or velvet dress over a white chemise, accentuated by a warm silk ribbon (yellow/gold). Jervas was famous (and sometimes criticised by contemporaries) for his preoccupation with silk and satin textures. Happily by popularising portraying aristocratic women in loose, casual, garments as opposed to stiff court dress, his portraits often have the poetic, and casual elegance that we see here.

fig 2. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 2. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

Our sitter is every inch the baroque beauty with her soft and luminous skin tones. Jervas no doubt learnt this technique when studying under the great Godfrey Kneller who was celebrated for his smooth and delicate rendering of skin in his portraits of high society women. She has chestnut hair which tumbles naturalistically around her shoulders and her perfect lips are shaped in a Cupid’s bow and they contrasting sharply with her pale skin.

fig 3. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 3. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

Beneath her thin, highly arched, elongated brows, she gazes directly at the viewer and engages us with her large almond-shaped eyes.

Fine,

Charles Jervas (c. 1675 – 1739)

Jervas was an Irish portrait painter, translator, and art collector. Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.

fig 4. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 4. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

Painting portraits of the city''s intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

fig 5. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 5. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James''''s, which Pope mentions in his poem, To Belinda on the Rape of the Lock, written 1713, published 1717 in ''''Poems on Several Occasions''''.

fig 6. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 6. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739, although he made made lengthy visits to Ireland.

fig 7. An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
fig 7. Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

This fine work is in an excellent state of conservation and is ready to hand and enjoy in its original hand carved and gilded early 18th century frame which has a wonderful warm patina.

Higher resolution images on request.

Worldwide shipping available.

Canvas: 70cm x 65cm.

Framed: 86cm x 74cm.

Height
86cm (33.86")
Width
74cm (29.13")
Depth
4cm (1.57")
Date of Manufacture

Period Portraits has dated this Georgian Oil Portrait Painting to the 18th Century.

Reference Numbers
Sellingantiques Ref
SA1237568
Period Portraits
Period Portraits
Sellingantiques verified Since Jan 2017

Specialist dealer in portraits from the 17th century to the 20th century. Our stock includes quality oil paintings, drawings, and mezzotints

Dealer Profile

You can view the stock and full dealer information on the Period Portraits Profile Page

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An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
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Archive I An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.

Charles Jervas (1675 - 1739) - Portrait of a Beauty in a Blue Dress.

Archive II An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View II
Archive III An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View III
Archive IV An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View IV
Archive V An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View V
Archive VI An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View VI
Archive VII An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View VII
Archive VIII An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View VIII
Archive IX An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View IX
Archive X An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View X
Archive XI An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XI
Archive XII An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XII
Archive XIII An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XIII
Archive XIV An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XIV
Archive XV An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XV
Archive XVI An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XVI
Archive XVII An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame. View XVII
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An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
CHARLES JERVAS (1675 - 1739) - PORTRAIT OF A BEAUTY IN A BLUE DRESS.
Ref: SA1237568
An eighteenth-century oil portrait of a woman in a blue dress set within an ornate carved giltwood frame.
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Cataloguer’s note

Written by Sellingantiques from the dealer’s photographs and listing
  • ObjectPaintings
  • Period18th century
  • StyleGeorgian
  • MaterialOil on Canvas, Giltwood
  • ColourBlue, Gold
  • MotifsFeigned oval, Carved leaf frame, Draped silk dress
  • SizeH 86 cm (34 in) x W 74 cm (29 in) x D 4 cm (2 in)

This 18th century Georgian oil on canvas portrait attributed to Charles Jervas depicts a dark-haired woman in a blue dress, set within an ornate carved giltwood frame. The artwork displays a feigned oval cartouche containing a tree-filled landscape and sunset background behind the sitter, who wears a deep blue silk or velvet dress over a white chemise with a yellow ribbon. The frame features hand-carved leaf decoration, raised mouldings, and a warm golden patina. The framed piece measures 86 cm high, 74 cm wide, and 4 cm deep. Suitable for an English country house interior, the painting fits into traditional reception spaces. It is designed to hang on a living room wall or above the mantel where traditional art provides a focal point.

FAQs

Early 18th-century British portraiture, influenced by artists such as Charles Jervas and Sir Godfrey Kneller, often features sitters in idealised classical drapery, elegant poses, and soft lighting set within feigned oval spandrels.

Georgian portraits were typically painted using hand-ground mineral and organic oil pigments on stretched linen canvas, presented inside carved and gilded timber frames.

Authentication involves examining natural craquelure patterns across the paint surface, original canvas stretchers, timber frame joint construction, and period-accurate brushwork techniques.

An antique portrait can serve as a focal point above a fireplace mantel, sideboard, or integrated into a gallery wall alongside contemporary line drawings or minimalist architectural features.

Display the painting away from direct sunlight, extreme temperature fluctuations, and high humidity, while cleaning the surface gently using a dry, soft duster or specialised conservation methods.
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