Miss Jane Bowles, 1775 Sir Joshua Reynolds (1723-1792)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Sir Joshua Reynolds also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Miss Jane Bowles is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In this portrait, a young girl kneels in a soft woodland setting, her arms wrapped tenderly around a spaniel whose dark, silky coat contrasts against her pale dress. The child’s face, gently rounded and delicately blushed, is lit from within, as if Reynolds has conjured a subtle radiance beneath her skin. Her attire, theatrical and slightly fanciful, seems less a child’s ordinary garment and more a costume for a gentle pastoral drama, while the forest behind her, rendered in deep, warm greens and muted browns, forms a quiet stage from which the viewer’s eye emerges into the glow of the child’s countenance. A shaft of sunlight breaks through foliage on the right, painted in a few deliberate strokes that demonstrate a confident, painterly touch. It is as if this golden beam is both real and symbolic, illuminating not only her figure but the delicate trust the painter established with the sitter and her family.

In terms of color, Reynolds employs a restrained yet sensuous palette. The earthy hues of the background and the sober black-and-white coat of the dog set off the girl’s skin tones and the pastel notes of her attire. Unlike some of his more classical portraits, here the effect of light and color is not about grandeur but about mood and intimacy. He uses his brush with apparent freedom, the strokes of paint forming a lively interplay of textures, from the feathery rendering of hair to the soft modeling of flesh. This approach, associated with his so-called “fancy pictures,” ensures that our gaze lingers longer than expected on what might appear at first glance as a straightforward subject.

Painted between 1775 and 1776, at the time when Oldfield Bowles expressed concern over Reynolds’s experimental materials, the painting has held its surface remarkably well. The sitter’s presence—she was about three or four—feels immediate, as if no centuries have passed. Acquired by aristocratic collectors and engraved under the title “Juvenile Amusement,” this image endures as a moment of painterly negotiation: between fleeting childhood innocence, anxieties about creative methods, and the timeless pleasure of observing an artist’s hand coaxing light and color from pigment and oil.