The Weiss Gallery

The Weiss Gallery The Weiss Gallery is the leading dealer in Tudor, Stuart and Northern European Old Master portraiture

🔎 Tell us about yourself ✍️One of the first things we consult when inspecting a portrait painting is an inscription. Som...
18/03/2026

🔎 Tell us about yourself ✍️

One of the first things we consult when inspecting a portrait painting is an inscription. Some are more descriptive than others, whilst some are painted with great artistic flare.

Which is your favourite?

The sitter of this particularly engaging portrait, a rare signed bust-length by one of Britain’s first professional fema...
15/03/2026

The sitter of this particularly engaging portrait, a rare signed bust-length by one of Britain’s first professional female artists, Mary Beale, is thought to depict Mary Croone who, in 1685, the date inscribed upon this painting, had just been widowed.

“The Truly Pious and Virtuous Mrs Croun”, widow of the late Dr. William Croone, a revered physician and founding fellow of the Royal Society, was soon to marry the noble writer Sir Edwin Sadleir. Despite her second husband’s shortcomings in financial management - primarily on account of his funding of exotic publications, which eventually bankrupted him - Mary managed to save enough in her lifetime to honour both of her husbands.

Mary Lorymer’s profile as an independently minded woman during the early years of Restoration London fit that of the typical clientele of Mary Beale. It may have been through her first husband that Lorymer met Beale, for Dr. Croone sat for her in the early 1680s. Clearly Lorymer was charmed by the artist as she chose Mary Beale to paint marriage portraits of her and her second husband in 1687 (Sutton House, National Trust).

Mary Beale (1633 - 1699)
Mary Croone (d. 1706), latterly Lady Sadleir [?]
Oil on canvas: 30 x 25 in. (76.2 x 63.5 cm.)
Signed and dated, lower right: ‘Maria Beale pinxit 1685’

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Welcome to stand 346  With our new stand design, we hope to encourage exploration and spark intrigue for our visitors.We...
14/03/2026

Welcome to stand 346

With our new stand design, we hope to encourage exploration and spark intrigue for our visitors.

We look forward to seeing you this week!

Images courtesy of

 is now open! Team Weiss look forward to welcoming you to stand 346.      #2026
12/03/2026

is now open! Team Weiss look forward to welcoming you to stand 346.

#2026

First identified by Mark Weiss as the work of Frans Pourbus II in 1997, this is an important early portrait commission, ...
05/03/2026

First identified by Mark Weiss as the work of Frans Pourbus II in 1997, this is an important early portrait commission, painted when the artist was only 22-years-old, which dates from the very first years of his working life in Antwerp.

This is one of several other works by the artist that we will be bringing to TEFAF Maastricht (14 - 19 March). We are delighted to be once again exhibiting at
the world’s greatest art fair and look forward to welcoming you to stand 346.

Over the coming weeks we will be revealing several highlights via email and on our instagram page, so please stay tuned for further updates.

We look forward to seeing you in Maastricht!

Mark, Charlie & Flora

Illustrated:
Frans Pourbus the Younger (1569 – 1622)
“Caterine van Damme (1540 – 1622)”
Oil on panel: 41 ¾ × 29 ½ in. (106 × 75 cm.)
Inscribed with an armorial of the de Groote family upper left,
and upper right: ‘AETATIS SVAE 51/ ANNO DNI 1591’
Inscribed on the reverse of the panel:
‘IONCVRAVWE-CATERINE-VAN-DAMME-HVVSVRAVWF-VAN-MR-FRANCOIS-DE-CROOTE’

🎄 Season’s Greetings from The Weiss Gallery! 🎄Wishing you and yours an enjoyable festive season and a happy New Year!We ...
19/12/2025

🎄 Season’s Greetings from The Weiss Gallery! 🎄

Wishing you and yours an enjoyable festive season and a happy New Year!

We very much look forward to seeing you in 2026!

With best wishes,

Mark, Charlie & Flora

*Image courtesy of a friend and their new AI software!

N.b. The gallery will be closed from 5pm on Friday 19th December and will reopen at 10am on Monday 5th January.

17/12/2025

The Weiss Gallery is very proud to support Art UK, a unique digital cultural space, which gives everyone free access to the UK’s public art collections.

The charity digitally unites over 750,000 artworks from 3,500 institutions – museums, libraries, town halls, hospitals – as well as public art in our streets such as sculptures and murals.

That means anyone, anywhere can enjoy, learn about and research them.

Art UK is an online cultural space where you can make, enjoy and share exciting new art discoveries. Indeed, it has proved an invaluable tool for us when we research our paintings. More so, it is changing how we experience art, and it’s available to everyone, at any time – absolutely free.

Public galleries are stretched and art education is under threat; Art UK supports every public collection to make their art digitally accessible and connect young people to the art they own.

Art UK receives no regular public funding so without donations the charity wouldn’t exist and the access to art it provides would be lost. Follow the link in our bio to support this amazing charity.

Join a community that is passionate about democratising access to art.

“Great Scot!”This elegantly conceived three-quarter length portrait is an exciting new addition to the limited oeuvre of...
04/12/2025

“Great Scot!”

This elegantly conceived three-quarter length portrait is an exciting new addition to the limited oeuvre of the early Scottish artist James Carrudus, who was active in Edinburgh at the beginning of the Restoration period.*

Depicting the 3rd Earl of Queensberry, William Douglas, it can be associated with a number of portraits depicting leading members of the Scottish nobility whom Carrudus and his master, L. Schuneman (fl. 1665 – 1675), painted in the 1670s and 1680s.

William Douglas was the eldest son of the 2nd Earl of Queensberry and succeeded the earldom upon his father’s death in 1671. After being appointed Lord Justice General of Scotland in 1681, Douglas attained further social advancements from Charles II, which included becoming the Lord High Treasurer for Scotland; Governor of Edinburgh Castle; and Duke of Queensberry in 1684.

Around the time that our portrait was painted, Douglas decided to build a majestic new family seat, Drumlanrig Castle, which was almost certainly inspired by the spirit of the recent renovations at the Scottish court. Rendered in local red sandstone, which has earned the castle its nickname as the ‘Pink Palace’, Drumlanrig remains one of the finest examples of late seventeenth century Renaissance architecture in Scotland.

The construction began in 1679 and the main building was completed by 1691; however, Douglas supposedly only stayed in the castle for one night and – perhaps because he was so irritated at the huge cost of the castle’s construction - refused to live in it, choosing instead to stay between Sanquhar Castle and Queensberry House in Edinburgh, where he died in 1695.

This painting is now on view in our new viewing room and available for purchase!

*Our special thanks to for suggesting the attribution to James Carrudus.

~

James Carrudus (fl. c.1665 - c.1685)
“William Douglas (1637 – 1695), 3rd Earl of Queensberry”
Oil on canvas: 48 ¾ x 39 in. (124 x 99 cm.)
Painted circa 1677 - 1683

~ A Christmas Special: Mason Chamberlin’s “Little Drummer Boy” ~In the mid-1760s Daniel Giles, a successful merchant and...
01/12/2025

~ A Christmas Special: Mason Chamberlin’s “Little Drummer Boy” ~

In the mid-1760s Daniel Giles, a successful merchant and future Governor of the Bank of England, commissioned the voguish artist Mason Chamberlin to paint a portrait of his much-cherished only son.

The heir to his vast fortune, who was named after his father, is shown playfully beating a drum in the artist’s Spitalfields studio. In adulthood Daniel Jnr. became Whig MP for St Albans and was a successful KC.

Both the artist and sitter had strong connections to the area surrounding our gallery. Daniel Giles’s London residence was within Albany, a famous apartment complex just behind Piccadilly (swipe for images).

Soon after this portrait was painted, Chamberlin joined the country’s other leading artists and architects in petitioning the King to approve the foundation of a Royal Academy of Arts; he became a Founder Member when it was approved in 1769.

This painting has just been installed in our window - alongside our beautiful Christmas tree! - and is now available for purchase.

The gallery is looking and feeling very festive, we look forward to welcoming you this December!

Illustrated:
Mason Chamberlin RA (1727 – 1787)
“Daniel Giles (1761 – 1831)”
Oil on canvas: 32 x 45 in. (81.28 x 114.3 cm.)
Painted mid-1760s

17/11/2025

“Welcome to The Weiss Gallery”

Just before our return to Frieze Masters last month, we commissioned a video to capture the gallery looking its very best.

We hope you enjoy it and that it encourages you to visit us when you’re next in the area. See you soon!

Video captured by

We are fortunate to have a large, illuminated shopfront on Jermyn Street, which allows passersby to enjoy a sneak peak o...
31/10/2025

We are fortunate to have a large, illuminated shopfront on Jermyn Street, which allows passersby to enjoy a sneak peak of the gallery, whatever the time.

We realise that most of our audience are not London-based and, thus, do not have the chance to see what we have on display in our window.

So we would like to share with you the first instalment of a regular series of posts that will show what we currently have on display in our window.

~

Once described as ‘among the artist’s most delicate and charming works’, this painting by Thomas de Keyser is a refined example of Dutch seventeenth-century portraiture infused with allegorical meaning.

Depicting a richly dressed woman personifying Flora, the Roman goddess of spring and renewal, the painting merges the traditions of mythological allegory and a portrait likeness.

Dutch artists influenced by Italian humanism and classical learning began to depict Flora as part of mythological cycles, referencing both classical humanism and the contemporary fascination with the natural world. Symbolically the character of Flora, who was inevitably modelled from a beautiful young woman, referenced the transient nature of beauty and life.

Here De Keyser reimagines his subject as the elegant goddess who, with her rich white satin dress and freshly cut flowers, brings colour and life to the otherwise earthy composition; one even wonders whether the artist also deliberately placed blossoming flowers around his monogram to reference that it is both he and Flora who have brought life to the painting.

In our painting Thomas de Keyser achieves a delicate synthesis of realism, allegory, and social portraiture. The painting embodies the seventeenth-century Dutch ideal of measured grace—neither the mythic sensuality of Botticelli nor the emotional immediacy of Rembrandt, but something quietly human and urbane. This Flora is not an otherworldly goddess, but a reflection of contemporary womanhood: refined, virtuous, and in harmony with the moral and natural order of her world.

This painting is now available for purchase. If you would like a high-resolution image and our cataloguing, please do get in touch.

Address

59 Jermyn Street
London
SW1Y6LX

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm

Telephone

+442074090035

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