Regency Portrait Restoration: Identifying & Preserving Early 19th Century Oil Paintings

For many historians, the regency period marks a turn into the modern era. The enlightenment of the mid to late 18th century had changed the way British society saw the world, leading to innovations in a variety of realms – from science to morality.

The art world was also moved by these values, which hinged on idyllic views of antiquity. Having been formalised under the Royal Academy in the previous era, the structure to artistic education and development was cemented as a noble craft and exemplified by the neoclassical movement. 

Above: a selection of portraits from the Regency period, including work by Thomas Sully and Thomas Lawrence 

The changing face of British society was captured in the early 19th century by renowned artists such as Henry Raeburn and Thomas Lawrence. There was movement in the class structure, making room for social mobility – through success in commerce, academia, entertainment and military roles. The newly formed middle class sought to secure their position through visual records, one of the most prominent being the oil portrait. This article will explore the artists who led the market for portraiture in regency Britain and how we care for them with modern conservation methods.

What is the Regency period?

In historic terms, the regency period in Britain is approximately 1795 to 1837. Between 1811 and 1820, George, Prince of Wales was leading the country as Prince Regent due to his father King George III declining in physical and mental health.

This regency occurred at a time when the world was changing, just a few years after the American independence and the French Revolution. It was an anxious time for the British royals, not helped by the Prince of Wales leading a rather extravagant lifestyle. Luckily, this exuberance included his enthusiastic patronage to the arts.

Above: detail from a portrait of George IV when Prince of Wales by Sir William Beechey, late 18th century

Identifying Regency Portraiture

By the turn of the 19th century, the genre of portraiture had been defined by the works of prior eras, under the influence of Van Dyck, Godfrey Kneller, Joshua Reynolds and Thomas Gainsborough. British art continued to be dominated by this influence and the demand for oil portraits was higher than ever before. These valuable commissions were not only reserved for royalty, they allowed anybody who could afford it the opportunity to have themselves immortalised. 

Above: two unfinished paintings – a portrait of Mrs. Waldo by Samuel Lovett Waldo (1826) and portrait of Lady Hester King by John Hoppner (1805)

Regency portraiture has a few distinct categories, these include military men, married women with their children, ladies prior to or just after marriage and fashionable gentlemen. Raeburn in particular was known for his naturalistic family portraits, taking from the philosophical output of the era that allowed for a more liberated childhood. 

Above: detail from Portrait of Charlotte and Sarah Carteret-Hardy by Thomas Lawrence, 1801

The fashion of the era is fairly easy to spot, with women in white empire line gowns, hair up in a Grecian style. The dominance of the powdered wig in the baroque period came to an end, in part due to a new tax that was placed on wig powder. Pale skin and rose lips were desired – though this was sometimes an unfortunate consequence of underlying tuberculosis.

Above: a selection of portraits including Eleanor Lewis by Gilbert Stuart (1804), Lady Mary Templetown and Her Eldest Son by Sir Thomas Lawrence (1802) and Mrs. William Thornton by Gilbert Stuart (1804)

Men wore high collars, their fashion may appear to combine the grandiose Georgian style with the simple tailored suits of the later industrial era. If you have ever seen a portrait of the Prince Regent himself, you will undoubtedly remember this tailored look. Much of the fashion was determined by Prince George, who adopted a darker suit and pantaloons over a tight, pastel suit due to his large size and the high collar was in fact a way to hide his double chin. 

Above: a selection of portraits including George Harley Drummond by Sir Henry Raeburn (1808-1809), Thomas Abthorpe Cooper by John Wesley Jarvis (1810) and Major John Biddle by Thomas Sully (1818)

Regency frames also have their own style, their neoclassical flavour often reflects the shapes of ancient Rome and Greece. Whilst some gilt frames opt for squared corners with a simple classical feel, others go as far as to incorporate detailed motifs and columns. 

Leading Artists of the Regency Period

Portrait painters in this era gained work through society connections, the majority of them would have been connected to the Royal Academy. Artists may have also sold engraving copies of portraits if they were of a famous face, this was the beginnings of the ‘celebrity’ as we know them today. 

• Sir Thomas Lawrence (1769 – 1830)
• John Hoppner (1758 – 1810)
• Sir William Beechey (1753 – 1839)
• Richard Cosway (1742 – 1821)
• John Opie (1761 – 1807)
• Thomas Phillips (1770 – 1845)
• Sir George Hayter (1792 – 1871)
• Sir Henry Raeburn (1756 – 1823)
• Sir Martin Archer Shee (1769 – 1850)
• William Owen (1769 – 1825)
• George Romney (1734 – 1802)
• John Russell (1745 – 1806)
• Allan Ramsay (1713 – 1784)
• Francis Cotes (1726 – 1770)

Caring for Regency Portraits 

Because portraits from the regency period often depict sitters in light neoclassical attire with a soft use of light and smooth brushwork, any visual disturbances can easily detract from the composition. The discolouration of a sitter’s muslin dress can turn the bright tone of the piece into a flat, yellow view, distracting from important historical details. Environmental issues can harm the paint layer, forming cracks and instability. 

To preserve the vividity and charm of regency portraits, display them in an environment with consistent temperature and humidity. Avoid hanging them in areas where heat or moisture fluctuate significantly. Never position an oil portrait above radiators or fireplaces, as heat can cause paint layers to crack and flake. Similarly, avoid direct sunlight, which may cause fading in delicate pigments such as carmine, vermilion or tones used for the complex flesh colouring. 

Damp environments, including kitchens and bathrooms, should also be avoided, and exterior walls checked regularly for signs of condensation or poor insulation throughout the year.

How to Safely Display an Oil Portrait

Before displaying a Regency portrait, always examine its frame. Original regency frames were often characterised by clean lines, gilt ornamentation such as laurel wreaths, anthemion leaves and beaded moulding. These gilt surfaces, made using wood, gesso and gold leaf, are especially vulnerable to flaking or loss when exposed to humidity changes. In some cases, you may want an entirely new frame, if the original is not suitable for the needs of the painting – as seen below.

A secure and well-maintained frame not only enhances the artwork’s historical integrity but also provides vital structural support. Weak joins, missing ornaments or compromised hanging fittings should be professionally repaired to prevent future damage. Our conservators can restore both the portrait and its period frame using authentic materials and traditional gilding methods.

When a Portrait Becomes Discoloured

Over time, many regency portraits develop a discoloured yellow or brown tone caused by the natural ageing of varnish layers. Although it may seem tempting to clean this at home, these varnishes can only be safely removed with specialist conservation solutions. 

Because regency artists often used fine glazes and delicate transitions of tone, our conservators must test the sensitivity of each paint layer to identify a safe cleaning method. Using household liquids or cloths can cause moisture to penetrate the surface, creating irreversible abrasions and loss of original paint.

How We Restore Regency Portraits

Restoring a regency portrait begins with a full assessment of the painting’s structure and surface. Our team will also check for any previous restoration work. We document the artwork using high-resolution photography and raking light to highlight the fine craquelure patterns typical of the period’s thin oil layers. Ultraviolet light can also reveal areas of overpaint from past alterations during this process.

Above: our conservation team caring for paintings in our studio

A gentle surface clean is carried out first to remove soot and environmental deposits from centuries of display. If required, the aged varnish is carefully reduced or removed to reveal the original clarity of the artist’s tones and textures, often reviving the delicate skin tones, refined drapery and subtle lighting that are the desirable hallmarks of regency portraiture.

Cracks or flaking paint are stabilised using conservation-grade adhesives, applied through heat or a small injection beneath the paint layer. Any paint losses are then filled and retouched using reversible pigments matched precisely to the surrounding tones. Tear repairs are completed thread-by-thread under magnification, ensuring minimal intervention and preserving the portrait’s authenticity.

All conservation work adheres to ethical standards of reversibility and documentation, ensuring that future scholars and conservators can distinguish between the hand of the artist and the careful work of restoration when they perform their own technical examinations.

Contact Our Team

As part of our service we offer a nationwide collection and delivery service as well as information on worldwide shipping to our studio. E-mail us via [email protected] or call 0207 112 7576 for more information.