Items Similar to 17th Century Portrait of Jesuit Priest
Want more images or videos?
Request additional images or videos from the seller
Unknown17th Century Portrait of Jesuit Priest1600
1600
About the Item
Portrait depicting a Jesuit Priest, Possibly St Ignatius, from a collector of medieval and gothic art. This portrait's estimated date is between 1580 and 1700, we ask that you review the photos to determine the age as we are not experts in this particular category of painting. The painting is in distressed condition with holes, repairs, losses to canvass, warping, and faded varnish, however it is these features that offer lots of character and make the piece a spectacular statement, especially if paired with furniture and architecture of the same period. The painting appears to be from Southern Europe, however, is also in a style that is particular to Mexico and South America. With a proper restoration this could be a particularly spectacular piece. The subject of the portrait is holding a monstrance and is beside a book with a religious motto possibly indicating a link to the Jesuits. Due to the fading of the varnish we believe there may be many details that are lost to the eye but that may come about with a proper restoration. The previous owner was a prodigious Texas collector, author, and historian who owned several items that are now featured in museums.
- Creation Year:1600
- Dimensions:Height: 33 in (83.82 cm)Width: 22 in (55.88 cm)Depth: 1 in (2.54 cm)
- More Editions & Sizes:33x22Price: $6,850
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Antonio, TX
- Reference Number:1stDibs: LU2267212558712
About the Seller
No Reviews Yet
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
1stDibs seller since 2022
- ShippingRetrieving quote...Ships From: San Antonio, TX
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Baroque English Portrait of boy and his dogBy (Follower of) Sir Godfrey KnellerLocated in San Antonio, TXLate 17th/early 18th century portrait of a boy. This portrait is in the manner of Sir Godfrey Kneller, however it lacks a signature and documentation. It would not look out of place in an English country house. The Portrait is of a young English boy...Category
Early 18th Century Baroque Portrait Paintings
MaterialsOil
- 19th Century Painting of Women Crossing StreamLocated in San Antonio, TXRomantic style painting of figures crossing a stream in a coastal European landscape. The painting dates to the 19th century and is presumed to...Category
Mid-19th Century Romantic Figurative Paintings
MaterialsOil
- Saint Jerome in His StudyLocated in San Antonio, TXFlemish School, believed to be from the 16th century according to previous owner. Oil on panel depicting Saint Jerome seated in his study with various instruments and symbols around ...Category
16th Century Flemish School Figurative Paintings
MaterialsOil
- La Seine, Denys Puech, dated 1901By Denys PuechLocated in San Antonio, TXMarble Sculpture titled “La Seine” in reference to the main Parisian River. Sculpture is signed "Denys Puech, OLRY-ROEDERER" and dated 1901. Presumably m...Category
Early 1900s Art Nouveau Nude Sculptures
MaterialsMarble
- Pair of Classical Bronze PuttiBy Alfred BoucherLocated in San Antonio, TXBronze sculptures of Classical Putti, signed in cast after Alfred Boucher (French, 1850-1934), rising on stepped red marble bases.Category
Late 19th Century Nude Sculptures
MaterialsMarble, Bronze
- 19th Century Marble Sculpture of Bacchanalian PuttiBy Louis Auguste MoreauLocated in San Antonio, TXWhite marble sculpture, signed Aug. Moreau, depicting two putti enjoying grapes and wine. The piece is consistent with similar works created by Auguste Moreau. This particular work i...Category
Late 19th Century Figurative Sculptures
MaterialsMarble
You May Also Like
- Portrait of a Lady with a ChiqueadorLocated in New York, NYProvenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...Category
17th Century Old Masters Paintings
MaterialsCanvas, Oil
- 18th C. Portrait of the 4th Earl of Sandwich a View of Constantinople BeyondLocated in London, GBJohn Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- Portrait of Gentleman, Thomas Bruce, Earl of Elgin c.1638 Manor House ProvenanceLocated in London, GBTitan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Wood Panel
- Portrait of a Lady Diana Cecil, Countess of Elgin c.1638, Manor House ProvenanceLocated in London, GBTitan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Wood Panel
- 18th Century Oil Painting Portrait of Provost John Pitcairn of DundeeBy Sir Henry RaeburnLocated in London, GBThe pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- 18th century portrait of the painter Nathaniel DanceLocated in London, GBCollections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...Category
18th Century Old Masters Portrait Paintings
MaterialsOil, Wood Panel, Canvas