Unknown

GRISAILLE 19th Century - Cherubs Are Playing Music

Circa 1850

Lacazette Amelie (19th) Young Girl with a dove Oil on canvas signed upper left Old frame gilded with leaves Dim canvas : 56 X 37 cm Dim Frame : 74 X 57 cm Lacazette Amelie (19th) - ...

French School 19th century Close to François Xavier FABRE (1766-1837) The Princess and The Chaperone Oil on canvas One can read on the reverse "Fabre Fecit" and the name and address of the canvas dealer shop...

DE LAUNEY Fernand (19th Century) Break at the Inn for the Rural Policeman Oil on Wood Panel signed Low Left Old frame gilded with Leaves Dim wood : 33 X 41 cm Dim frame : 48 X 56 cm...

LEBAS Léonie (19th-20th) "Lady at the Flower Market in Paris" Oil on wood panel signed low right Old Frame regilded with gold leaves Dim panel : 16 X...

STEVENS Agapit (1848 – 1924) Reception at the Salon Oil on wood signed low left New Golden Frame Dim wood panel : 24 X 39 cm Dim Frame : 49 X 63 cm STEVENS Agapit (1848 – 1924) Be...

GRISAILLE 19th Century (anonymous) Cherubs asleep Part of "Rococo Style" made famous by François Boucher (1703 - 1770) Oil on canvas Circa 1850 Old frame re-gilded Dim canvas : 33 X ...

Giuseppe Gandolfo (Catania 1792 - 1855), Portrait of a lawman in his study Oil painting on canvas 87 x 68 cm signed and dated 1831 (or 1851) lower left, always in the lower left co...

Lando Landozzi (Pisa 1887 - Livorno 1959), Raffaello Gambogi Oil painting on panel 62 x 40 cm signed lower right.

Oil on canvas with its original frame.

A large and very elegant portrait of a British lady thought to be Dame Anna Neagle, the British actress and singer. English School, 20th Century Portrait of a society lady thought t...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...

Large Academic style figurative painting of five male athletes Painted by Mark Beard aka "Bruce Sargeant" for New York City's flagship Abercrombie and Fitch store on 5th Avenue oil...