Mrs Elizabeth Carnac, c.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 Mrs Elizabeth Carnac 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.

Sir Joshua Reynolds’ "Mrs. Elizabeth Carnac" from around 1775 is a portrait of grace, elegance, and aristocratic poise, where nature and fashion meet in perfect harmony. Elizabeth Carnac is depicted in a rich, silvery gown that billows around her, the folds of the fabric rendered with Reynolds’ typical mastery of light and shadow. The fabric catches the light in a way that feels almost tangible, emphasizing her regal presence. Her hand gently gathers the gown, a subtle gesture that speaks of effortless control. The gown itself, sumptuous and voluminous, echoes the natural curves of the trees surrounding her, merging the subject with the lush, wooded setting.

Reynolds places Mrs. Carnac in a landscape, but it’s not a wild, untamed forest. This is nature groomed for the upper class, a serene setting that complements her aristocratic air. The trees rise tall, framing her like natural columns, while the gentle stream and soft light evoke a sense of calm. Her headdress - an elaborate creation of feathers and fabric - adds to the theatrical quality of the composition, reminding us that this is a woman of style and status. Her pale complexion is softly illuminated, and her gaze is turned slightly away, lending her an air of detached refinement.

The color palette is warm and balanced. The golden accents of her sash and headdress stand out against the silvery tones of her gown, while the background offers muted greens and browns, providing a harmonious backdrop without distracting from the central figure. Reynolds’ technique here is both bold and delicate - the confident brushstrokes give life to the fabric, while the subtler handling of the trees and landscape create depth and atmosphere. The painting is not just a portrait of a woman but a statement of identity, privilege, and the power of representation in 18th-century England. It speaks to the role of portraiture as a marker of social status, while also showcasing Reynolds’ genius in blending the personal with the universal.