Henri Millot

18th c. French Portrait of Louise Dorothea von Hoffman, signed H. Millot, 1724

1724

Portrait of Henri-Louis de la Tour d'Auvergne, Comte d'Evreux Studio of Hyacinthe Rigaud (1659-1743) Early 18th century French school, circa 1705 Oil on canvas Dimensions: h. 72 cm, w. 57.5 cm Louis XIV period gilded and richly carved wood frame with flowered corners. Framed: h. 96 cm, w. 80 cm Henri-Louis de la Tour d'Auvergne (1679-1753), Count of Evreux at the age of 24. The young man is depicted standing, seen at mid-height, turned three-quarters, against a background of a sky filled with cannon smoke. Head turned to the left, a large wig falling over his shoulders, a youthful face with plain cheeks, a delicate smile from thin lips, a gentle, benevolent facial expression. The right hand rests on the command staff in the foreground, while the left arm is bent and the hand rests on the hip. He is wearing a white sash of command, the floating drapery of which appears to his right. Fully armored, his only visible adornments are the blue velvet facings at the joins of the armor pieces and the sleeves of fine white lace. Power and charisma emanate from this military portrait. The young man's stature, bearing and head carriage convey the image of a valiant warrior. The theatrical lighting abundantly illuminates the face and creates strong metallic reflections in the armor. Despite his static stance, the hair blowing in the wind enlivens the painting, lending a dynamism and vigor that amplify the model's belligerent attitude. Our work is a studio version by Hyacinthe Rigaud, the original of which was executed by the artist himself in 1703. This original portrait of the Comte d'Evreux is now housed in the Gemälde Galerie - Alte Meister in the collections of the Kassel Museum. This portrait, one of the artist's most successful, was exhibited in 1704 at the Salon de l'Académie des Beaux-Arts and received rave reviews. As for the Compte d'Evreux, as soon as the original was created, he was satisfied with the artist's work and directly commissioned several replicas, which were executed by the studio between 1703 and 1705. These studio versions, as in the case of our painting, were intended as gifts from the Count to his wartime companions or members of his family. Our work is listed in the catalog raisonné of Hyacinthe Rigaud written by the artist's specialist Mr. Stéphane Perreau (published in 2004) Provenance: former private collection in Dijon, Burgundy Henri-Louis de la Tour d'Auvergne, le comte d'Evreux was the fourth son of the Duc de Bouillon, Godefroy-Maurice de La Tour...

Portrait of a Lady with carnations By Jean Ranc (Montpellier 1674 - Madrid 1735), circa 1700 Oil on canvas in oval shape, Dimensions: h. 35.82, w. 28.34 in. Period Louis XIV giltwood and carved frame with laurel leaves. Framed dimensions: h. 42.52 in, w. 33.85 in. Provenance: Collection of the Marquis de Bailleul at the Château d'Angerville-Bailleul (before 1942). To be included in the catalog raisonné of the artist by Stephane Perreau Important portrait of a young woman depicted half-length turned three-quarters, her face looking at the viewer. Dressed in a brick red velvet dress, an elegant blue scarf envelops her figure. Hair styled “a la Fontange”, her powdered hair is raised and tied at the back with a red ribbon, several curly locks escape from her bun and fall on her back and shoulders. The perfectly oval face with regular features dominated by her straight nose is softened by her gray eyes with slightly lowered lids. The red tinged skin tones on the cheeks and cheekbones color the face and make the portrait come alive. The young woman is portrayed standing near a pot of carnations. Her strongly lighted figure stands out against an architectural background of columns. The artist's palette is made of contrasts opposing warm to cold hues. The icy electric blue contrasts with the fiery brick red, the hair powdered with white accentuates even more the flush of the cheeks. The left arm bent at the elbow, extending the open hand with slightly bent fingers in the foreground brings depth to the composition. Our portrait, an interesting testimony in the corpus of works of the painter, is part of his youthful period, around 1700-1705. The former belonging of this portrait to the Marquis de Bailleul reinforces the remarkable character of our painting. The portrait has been examined by Stéphane Perreau, specialist of Jean Ranc and will be included in the catalog raisonné currently being written, under number P. 43. The notice edited by Mr Perreau is below: "Painted around 1700-1705, this portrait of a woman is directly inherited from Hyacinthe Rigaud, the master of Jean Ranc (the hand turned over the front, in a watch...

Portrait of Louis de France (1661 -1711), known as the Grand Dauphin, son of Louis XIV and Maria Theresa of Austria. 17th century French School, circa 1670 Workshop of Beaubrun Henri (1603-1677) and Charles (1604-1692) Oil on canvas, h. 79 cm (31.10 in), l. 70 cm (27.56 in) Louis XIV style giltwood and stucco frame Framed: h. 107 cm (42.13 in), l. 99 cm (38.98 in). Rare ceremonial portrait of Louis de France, aged around 10, wearing rich miniature clothes following the men's fashion of his time. He is standing, turned in three quarters, his gaze with a solemn expression contrasts with his baby face with full cheeks which appears in the middle of thick blond curls falling on his shoulders. He wears a tobacco-colored cloth jacket which hides a shirt of which we only see the silver-embroidered sleeves. He wears the blue cord of the order of the Holy Spirit slung over his shoulder, and over it a ribbon embroidered with gold and silver. The white lace tie at her neck is enhanced by a coral ribbon bow. The same ribbon trimmings decorate his sleeves, his cane, and his sword holder...

Portrait of a gentleman, workshop of Nicolas de Largilliere, circa 1690, Paris Sublime portrait of a gentleman with a palette of rich and vivid colors. He is depicted half-length, turned three-quarters, face to face. Soft and kind expression, the vivacity of the look, its calm serenity, grant an intense presence to the model. Wearing a loose wig of curly, powdered hair, this flow of vaporous curls cascades over his shoulder and enhances his face with regular features, illuminated by intense lighting and delicately nuanced by the gray tones of his emerging beard. Dressed in a shirt whose white lace collar can be seen, he wears a lapis blue velvet jacket with gold thread stripes and a moire silk lapel. Wrapped in a large red velvet coat, embroidered with silver thread, lined with brocaded yellow silk, held on his chest by a stapled leather strap. A delicate pink ribbon is passed through the collar of his shirt, the ends falling on the front like flying in the wind. Intense lighting concentrated on the figure plunges the background of the portrait into darkness. The dominant primary colors red and blue, chromatically opposed, are surprisingly harmonious and testify to the audacity of the artist who applies saturated colors to create a vibration of the material itself. The fabrics, the brushed velvet with ridges illuminated by generous serifs, the brocaded silk with a virtuoso brush, the lace and embroidery with a fine and precise design. A successful dazzle by the brilliance of the colors and a refined execution. French School circa 1690-1695 Workshop of Nicolas de Largillière (Paris, 1656-1746) Oil on canvas in oval shape H. 31.50 in, w. 24.40 in Carved and giltwood orignal frame with flower bouquets Framed dimensions: h. 41.73 in, w. 35.03 in Our work painted in the studio of Nicolas de Largillière, is marked by a learned eclecticism characteristic of this Parisian master. Inspired by the Antwerp Baroque masters Rubens and Van Dyck, the painter brings a spectacular dimension and seeks through the portrait to impress the viewer with its aesthetic and chromatic strength alone. We find his colors and this excution of baroque tradition in several portraits of this period, such as: Portrait of a gentleman, circa 1685, Chateau de Parentignat portrait of a gentleman, circa 1690, Atlanta Museum of Fine Arts portrait of a gentleman, Bemberg Foundation, Toulouse portrait of the Lord of Noirmont, National Museum of Ancient Art, Lisbon, Portugal Nicolas de Largilliere, born October 2, 1656 in Paris, where he died March 20, 1746, is a French painter. He is one of the most famous portrait painters of the 17th and 18th centuries. Nicolas de Largillière's long career spanned the reigns of Louis XIV and Louis XV, during which he established himself as a leading portrait painter. His female effigies...

François de Troy (1645 – 1730) - Duchesse de Fontanges The young woman, traditionally identified as Mademoiselle de Fontanges, Louis XIV's mistress, is depcited in bust facing forward, her head slightly raised and turned to the left. She seems to dominate the viewer. She is dressed in a blue satin dress and wrapped in an orange satin stole that shines with its most golden luster. His hand with graceful fingers with the index and ring fingers spread apart and the middle finger glued to the ring finger keeps slippery fabrics on his chest. Its stole flying in the wind creates an instantaneous movement and the arm bent at the elbow obliquely transforms its static pose. The perfectly oval face is enlivened by wide gray eyes, a turned-up nose, full cheeks and a mouth that sketches a half-smile. Her powdered and tied hair is studded with many flowers. The young woman wearing no jewelry, the radiance of her youth and her translucent hue are her only ornaments. The juxtaposition between the icy blue satin and the incandescent orange like the heart and the contours of a flame indicates François de Troy's great talent as a colourist. Its vibrant and nervous touch enlivens fluid fabrics, making them sparkling and changing. Their surface is worked in quivering brushstrokes, the serifs and the glazes forming an elegant arrangement. The glazes of the face are treated by superimposing light and transparent layers, producing pearly reflections and a translucent rendering, the technique in which de Troy particularly excels. By François de Troy (Toulouse 1645 – Paris 1730) Early 18th century French School Oil on canvas in oval format: h. 27.95 in, w. 25.18in 19th century period frame Framed dimensions: h. 41.34 in, w. 33.46 in Although unsigned, like the majority of works by François de Troy, our portrait has been authenticated by the French expert cabinet "Turquin" as an autograph work by François de Troy. Provenance : Paris, Heim-Gairac gallery in 1965. Thence private collection. Published in the book on the life of Louis XIV “The Sun King: Louis XIV at Versailles”, Nancy Mitford...

Portrait of Princess of Bourbon as Hebe Pierre Gobert, circa 1730 Presumed portrait of Elisabeth Thérèse Alexandrine of Bourbon-Condé, Mademoiselle de Sens, depicted as the goddess Hebe kidnapped by Zeus, transformed into an eagle. 18th century French School, around 1730 Pierre Gobert (1662-1744) and workshop Oil on canvas Dimensions: canvas: h. 129 cm, w. 95cm Dimensions: framed: h. 156 cm, w. 124cm Louis XIV style giltwood and cardved wood frame Large and imposing portrait of the young princess portrayed seated on an eagle in the heavens. Seen from the front, the princess is dressed in a low-cut white chiffon dress, exposing her throat. Delicately made-up oval face, dominated by large blue-gray eyes is surrounded by powdered hair, raised, releasing the forehead and the ears, and of which some locks fall on his shoulder. A large blue scarf passed over the shoulder covers her knees and flies in the wind. A garland of flowers coming from the back goes over the knees and down again on the eagle. In her right hand she holds a golden goblet and in her left hand an ewer. The eagle supporting the young woman seizes in its claws the thunderbolt (the beam of fiery lightning), the attribute of Zeus. The figure of the young woman is enlivened by the fluidity of the antique drapes...

Portraits of a Lady, Dorothy and Jane Wood c.1750, Fine Carved Frames By John Theodore Heins (1697-1756) Titan Fine Art present these works, which formed part of a collection of family heirlooms of the Wood family who were from Bracon Ash, Norfolk, since the medieval period. Jane’s daughter Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The paintings descended within the family for around 275 years until recent and are exquisite examples of Georgian portraiture in England and are some of the best works by the artist. The original hand carved and gilded pierced frames are magnificent works of art in their own right. The sitters were two children, out of several, of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). The family is from Norwich, which in 1720 was a city second in importance only to London. Their aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. Dorothy Wood (in the blue dress) was baptised 2nd June 1726 and she died unmarried around 1759. Jane (in the pink dress) gave birth to at least six children during her thirty two-year marriage. She was baptised 14 Oct 1727 at Bracon Ash. Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. According to Payne’s Universal Chronicle or Weekly Gazette the marriage took place on 7th July 1758. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet, who was Sheriff in 1710, and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual and in 1779 he gave the corporation of Norwich 100 pounds, to be disposed of as they might think proper, and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Such discrimination probably lies behind the why their children are included in the registers of both the Anglican church in Tacolneston and the Norwich Catholic church in the 1760s. Jane and Knipe had one son, Thomas, who died at the age of four of a small-pox inoculation in 1762 (memorial stones in the Church of All Saints, Tacolneston) and many daughters who were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) was born at Tacolneston Hall. She came to the convent 30 Sept 1774 and ten days later she went to Dames St Sacrament, Rue St Louis in Paris. Their second daughter, Dorothy (died suddenly of apoplexy 21st Nov 1813), came to the convent 19th July 1777 when she was 16 years old and returned to England 23 March 1779. Frances (baptised 22 Feb 1763) came to the convent 16th April 1772 when she was 9 years old and returned 29th May 1777 – however she returned again to the convent 16th May 1778 and left 15th Oct 1778 to return home again. She later married and her surname became Negri. Another daughter, Jane, is thought to have married Juan Manuel Martinez in 1784. There was also another daughter, Mary. The eldest daughter, Ann, first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She then married on 9th July 1799, Dr William Compton (1733- Clifton 1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton (he had earlier marriages to Caroline and Catherine). William Compton later retired from the Commons and spent many years on the continent acting as Chancellor of Ely by proxy from 1777 for the remainder of his life. The couple were British residents of Posilipo Naples and the marriage was hosted on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a sale that raised worldwide interest in 2023, for £20,160. The document is accompanied by a contemporary manuscript account of the wedding, headed 'Paragraph for the papers, sent to Messrs Coutts & Co with request to have it inserted'. Lord Nelson was a household name in Britain due to his many victories, including the Battle of the Nile against the French Navy in August 1798 – which came before the Battle of Trafalgar in 1805. The document states: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...

17th century Flemish old master painting, Allegory of taste The very fine painting depicts a young boy, cheekily tasting a delicious pie. He's looking at the viewer with eyes twinkl...

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Portrait of a lady, half-length in a feigned oval wearing a ruby coloured silk gown holding entwined strings of pearls across her bodice. Signed 'PNason' and dated 1667 (lower right)...