Henry Turner Munns Art

Albert Roca (1945) - Musicians - Oil on panel Oil measures 50x70 cm. Frame measures 53x73 cm. Painter of landscapes and figures, in whose characterization...

A copy of the self portrait of William Hogarth with his dog, called Trump. A fantastic quality image possibly from Hogarth's original school of art. This piece is titled, dated and monogrammed. It is in an antique, period Louis XIV style frame. The painting measures 36 x 28" (92 x 72cm) Outside Frame Size: 45 x 37" (104 x 94cm) Hogarth began this self-portrait in the mid-1730s. Initially Hogarth painted himself wearing a formal coat...

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

The artist Tomasz Bielak loves animals, but especially monkeys. He often portrays her. Old photos serve as templates. Tomasz Bielak born in Lublin in 1967. He graduated of The Acade...

Nasser Ovissi, (Iranian, Born 1934) "Girl with Arabian Horses" oil on canvas painting Very fine quality painting by Persian Artist Nasser Ovissi who is considered to be known as the "Picasso of Iran". A true modern Iranian masterpiece depicting a girl holding a pomegranate tray with three Arabian Horses, in a vibrant, sunny, light-green background. The girl's body is formed into the animals body. A very rare and interesting painting. Oil on canvas, unframed. Signed. Size: 40" high x 30" wide Nasser Ovissi is an American-Iranian painter whose work is characterized by stylized figures of Arabic women and horses. Set amidst geometric patterns and decorative elements, his figures seem to merge into and out of the space behind them. “My work is dedicated to the beauty of life and I hope those who experience my work will walk away with an experience of beauty.” Born in Tehran, Iran in 1934, Ovissi studied Law and Political Sciences at the University of Tehran before studying Fine art at Beaux Fine Art in Rome. The artist has achieved numerous awards and honors, including being exhibited at the 1959 Paris Biennial and a grand prize at the 1962 Biennale of fine arts of Tehran. Ovissi lives and works in Reston, VA. His works are included in the collections of the Contemporary Art Museum in Madrid and the National Art Gallery of Greece in Athens. Artist Exhibitions: 1957 Tehran, First Prize 1959 Paris Biennial 1960 Tehran, Exhibition in Farhang Hall, during the International Congress of Music 1961 Exhibition in Bombay, India New Delhi, International Exhibition of Contemporary Art Tehran, Iran, First Prise in Drawing Competition 1962 Tehran Biennial (Abyaz Palace), Grand Prize of the Biennial Venice, Italy Biennial 1963 Paris, Museum of Modern Art; Exhibition of Iranian Painters Sao Paulo Biennial, Brazil 1964 Tehran Biennial, Grand Prize 1965 Rome, National Museum of Oriental Art 1966 Milan, San Fedele Gallery 1968 Rome: Gallery 88 Florence, International Biennial of Graphic Arts New York, Columbia University, Modern Iranian Art Italy, Gold Medal at the Campione International Salon 1969 Zurich, Huber Gallery 1970 Ankara, Fine Arts Gallery 1971 Rome, Temple University Athens, Fine Arts Salon New York, Columbia University Washington, Agra Gallery 1972 Paris, Autumn Salon, Grand Palais Paris, Guiot Gallery Ottawa, National Art Center Ottawa, University of Ottawa Baltimore, John Hopkins Gallery Brussels, Palace of Fine Arts 1973 Belgrade, Museum of Modern Art Monaco, International Art Exhibition (Grand Prize) 1976 Basel, Feriart 1977 Madrid, Bruaugut Gallery 1978 Valence, Artis Gallery 1978 Madrid, Contemporary Art Museum 1979 Caracas, Guipuzcoa Gallery 1981 Washington, D.C., Calvert Collection 1982 Dallas, International Art Exhibition 1983 Houston, Texas, Galeria Arte 1984 Pasadena, Pacific Asia Museum Washington, D.C., Calvert Collection Washington, D.C., World Bank New York, Leila Taghinia-Milani Gallery 1985 Paris (France), Mille et Une Nuits New York: Taghinia-Milani Gallery Washington, D.C., Calvert Collection 1986 New York, Mussavi Art Center Washington D.C., Fine Arts Gallery, Georgetown Park Vancouver (Canada), The Art Circle Visalia (California), The Art Circle 1987 New York, Art Expo Cadiz (Spain), Sato Grande Fairfax (Virginia), Broadway Gallery 1988 Los Angeles, Galeria Arte Washington, D.C., Fine Arts Gallery, Georgetown Park McLean (Virginia), Abott Gallery Geneva (Switzerland), Bronz Gallery 1989 New York, Mussavi Art Center San Francisco, Hourian Art Gallery 1990 Montreal (Canada), Maison d'Art Saint Laurent Maui (Hawaii), Metropolitan Art Gallery 1991 Montreal (Canada), Maison d'Art Saint Laurent Austin (Texas), University of Texas Art Gallery New York, Elaine Benson Gallery Maui (Hawaii), Metropolitan Gallery Boca Raton (Florida), Curzon Gallery 1992 Maui (Hawaii), Metropolitan Gallery New York, Space Gallery McLean (Virginia), Tower Club Los Angeles, Beverly Hills Town Center 1993 Cambridge (Massachusetts), Harvard University Maui (Hawaii), Metropolitan Gallery Boca Raton (Florida), Curzon Gallery Washington, DC, Very Special Art Gallery 1994 Tokyo (Japan), Metropolitan Gallery Maui (Hawaii), Metropolitan Gallery Osaka (Japan), Metropolitan Gallery Detriot (Michigan), Michigan University Montreux (Canada), Aurom Gallery Boca Raton (Florida), Curzon Gallery 1995 Washington, DC, Designer Art Gallery 1996 Great Exhibition at Art Festival, Kuwait 1997 Montreal (Canada), Maison d'Art Saint Laurent Tokyo (Japan), Metropolitan Gallery Maui (Hawaii), Metropolitan Gallery Osaka (Japan), Metropolitan Gallery 1998 Fez (Morocco), Sufi Music Festival Los Angeles (California), Exhibition Art Centre Hawaii, Dole Gallery 1999 London (U.K.), Bourlet Gallery Montreux (Switzerland), The Oriental Palace...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing the role of representative of the "public ministry", safeguarding the interests of his lord. His role, one can imagine, was crucial at the death of Michel de Conflans (in 1717) since the latter left an heir, Louis, aged only 6, and a widow, Diane Gabrielle de Jussac, whom some memoirs describe as "a very clever grande dame" . Prieur ensured the smooth running of the family's affairs and it is probably to thank him for his services that Diane Gabrielle had his portrait painted, most probably by a painter close to Jean-Baptiste Oudry. Julien Prieur appears as he is, middle-aged, with a benevolent look, in his hunting suit. Only his knotted wig links him to the nobility. Above all, he is depicted as a hunter, a passion that he shared with the Marquis of Armentières. His very young master, Louis, became a first-rate hunter, hunting in the King's entourage, in whose cabinet he died of apoplexy in January 1774. As for the his son, he was one of Louis XVI's closest hunting companions, as numerous souvenirs attest . 1. Some biographical information about the model and the commissioner While the identity of many 18th century portraits is uncertain, an old label stuck on the reverse of the canvas gives us some precise information on the identity of the model: "Mr. Julien Prieur, homme d’affaires de Mr. le Marquis d'Armentières - Commune of Brécy - Aisne". The label also suggests that it could be his son Louis Prieur living in Rocourt (probably Rocourt-Saint-Martin, a neighbouring municipality of Brécy), born on 30 September 1745, who died on 8 July 1826, but this hypothesis must be rejected in view of the model's clothing. This label probably gives us an indication on the previous owner the owner of this painting; we will see later why it seems likely that this label was affixed between 1826 and 1832. Brécy is now a municipality in the Aisne County (Hauts-de-France) located between Soissons and Château-Thierry, slightly north of the Paris-Reims axis. It borders the municipalities of Armentières-sur-Ourcq and Rocourt-Saint-Martin. According to Louis Prieur's death certificate, he was in fact born in 1743 and not in 1745 . The age of the model in the painting and the dating of this painting would indicate that Julien Prieur, was probably born at the very end of the 17th century. In Louise-Marthe de Conflans-Coigny, chatelaine de Brécy , we read that "the Conflans were a family of ancient nobility, which genealogists trace back to the 12th century, when it was said to have come from the house of Brienne. In the 16th and 17th centuries, this family had several illustrations in the profession of arms. [...] Michel de Conflans, [...] belonged to a younger branch of the family, of which Saint-Simon wrote, with his acid soaked pen, that "poor and obscure, they had never left their village, where their house resembled a hut" and elsewhere that they "lived on their rifles and cabbages". Fortunately for Michel de Conflans, the last representative of the elder branch, Henriette d'Armentières, made him her heir on her death in 1712. It was through her that the land of Armentières and its 14th century castle became part of the estate of this branch, as well as, not far from there, the land of Brécy and the castle of Le Buisson, where the family lived. In the early years of the 18th century, Michel de Conflans was able to push himself into the entourage of the Duke of Orleans, becoming his first gentleman of the chamber. However it was above all his son Louis who restored the family status through his military career. Born on 23 February 1711, Louis de Conflans, Marquis d'Armentières died of apoplexy on 18 January 1774, in the King's cabinet at Versailles. Appointed lieutenant general in 1746, he received his Marshal of France’s stick in 1768. The Dictionary of French Biography writes of him that "without ever achieving a high command, he appeared with honour in all the wars of his time". The estates of Armentières and Le Buisson were sequestered during the French Revolution, declared national property and sold at auction (in 1794 and 1795 respectively) after the Marquise d'Armentières, the Marshal's second wife, was beheaded in 1794. The Château du Buisson (where Michel de Conflans died in 1717) was bought by a granddaughter of the Marshal de Conflans, the Marquise de Coigny, in 1816 and remained in her family after her death in 1832 until the sale of the 1,054 hectares estate in 1866. The bayonet blows that probably pierced the canvas in three places may well have a revolutionary origin and it is conceivable that the painting, acquired by the Marquise de Coigny from Louis Prieur, Julien's son, after the latter's death, was then restored and given the label specifying the name of the model. 2. Description of the portrait The painting presents a man in his thirties in his hunting costume. Pictured at mid-body, his face is marked by his life in the open air and characterised by a look of great bonhomie. Holding a rifle under his elbow, he is soberly dressed in a large caramel-coloured jacket, decorated with silver buttons. Presented in a three-quarter view, the model holds a partridge in his right hand. The jacket opens onto a vermilion waistcoat. A green shoulder strap probably holds a powder flask hidden under his arm while a satchel is visible on his belt. The model is wearing a grey wig, tied at the back with a black ribbon that seems to fly in the wind. This ornament anchors Julien Prieur in his time. "The new King of France, Louis XV, [imposed] a style of smaller wigs for men and the rigorous white or preferably greyish powdering. From the middle of the century men also used a ponytail on the back of the neck, tied with a ribbon, a style that became very popular in all courts." He stands out against a dark, purplish sky at the end of an autumn day in a soberly sketched forest landscape. The treatment of the sky recalls the influence of Largillière, Oudry's first master. 3. Jean-Baptiste Oudry Jean-Baptiste Oudry was born on 17 March 1686 in Paris, rue de la Ferronnerie. He began his apprenticeship around 1705-1707 with Nicolas de Largillière, with whom he stayed for five years. In 1713 Oudry established his "livre de raison" in which he reproduced all his early works in wash drawings up until 1718. During this first period which lasted about 7 years, Oudry produced works of great diversity, both in the genres that the artist tackled and in the artists which influenced him. It has been estimated that he painted about 150 pictures during this period: mainly portraits, but also still lifes and some religious paintings and landscapes. Of the hundred or so portraits that Oudry is said to have painted during this period, only fifteen have been identified today. A number of those lost portraits are probably still confused with works by Largillière. First admitted to the Académie de Saint-Luc in 1708, he was then allowed to join the Académie Royale in 1717, and subsequently admitted as a history painter in 1719. This year marks a turning point from which Oudry will assert himself as an animal painter. In 1723 he met Louis Fagon, Intendant of Finances, and the Marquis de Beringhen, the King's first equerry, who became both friends and patrons of the artist, giving him access to royal commissions and enabling him to be appointed as painter of the Royal Tapestry Factory of Beauvais in 1726. From 1728 onwards, the creation of tapestries became the core of his work, even though at the same time Oudry developed his skill as an illustrator, first for Scarron's Roman Comique and then for La Fontaine’s Fables. Between 1726 and 1731, Oudry created the decoration of a large drawing room at the château de Condé-en-Brie, about twenty kilometres from Brécy, which has remained in place to this day. This important commission, about which few details are known, is said to have originated with the Countess de Verrüe, a great lady of the French Regency who often stayed at Condé with her friend Jean-François Leriget, Marquis de la Faye, then owner of Condé. A prolific artist, Oudry fulfilled numerous commissions in parallel with his regular contributions to the Salons, to which he regularly took part until 1753. He suffered a stroke in 1754 and died the following year. It seems almost certain, in view of the importance of his work, that Oudry supervised a workshop in which several artists were involved, but this point is very poorly documented. Given the geographical proximity of Brécy and Condé-en-Brie, the links between the Armentières family and the Condé patrons, and finally based upon the quality of our portrait, we propose the hypothesis that it was painted by one of the painters who worked with Oudry at Condé. 4. Related artworks: comparison with some other portraits of hunters by Jean-Baptiste Oudry While Oudry gradually abandoned portraiture from 1720 onwards to devote himself to animal paintings, he seems to have made an exception for hunter portraits, which were often depicted in the company of their hunting dogs. Two examples seem particularly evocative and suggest a dating for our painting around 1730. We will see in a second part why this dating proposal seems relevant. The first portrait worth mentioning is the presumed portrait of Lieutenant Claude-André Courtin de Crouey, lord of Quatre Fils and Cormeilles-en-Parisis made in 1723, reproduced below. Also presented in a very tight frame, it is interesting for the similarities in the representation of the rifle, and in particular the two metal rivets that are almost identical in our painting. The painting that seems closest to ours is the presumed portrait of Monsieur...

A painting by Paul Jansen Curious 39 x 50 cm with frame (included) 50 x 63 cm Oil on wood panel The Dutch artist Paul Jansen prefers to paint cow portraits. Jansen looks for cows, ...

A painting by Paul Jansen Curious Calf 42 x 61 cm with frame (included) 56 x 77 cm Oil on wood panel The Dutch artist Paul Jansen prefers to paint cow portraits. Jansen looks for co...

The one who is absent Painting 20" x 21" inch by Ion Xiua. Mixed technique. Oil on canvas made with professional Winsor & Newton colors protected with gloss varnish with UV protecti...

Tomasz Bielak born in Lublin in 1967. He graduated of The Academy of Fine Arts, Painting and Graphics Design Department in Gdańsk, in 1994. He realized installation art, graphics ...

A painting by Paul Jansen The Dutch artist Paul Jansen prefers to paint cow portraits. Jansen looks for cows, examines all types in all possible places. For him, a cow is an interes...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...