Charles Mussett

Acrobat - Mid 20th Century Modern British Circus Performer Portrait Painting

1959

A striking c.1930 French post-impressionist oil on board portrait of a gentleman smoking a pipe by Antonin Guéton. Excellent quality and condition post-impressionist portrait. Signed...

A beautiful c.1970 oil on panel nude portrait of a nude lady by Susan Crawford, an artist who has painted the Queen and many other Royals. Excellent quality and condition portrait of the lady with sketched body and highly detailed face. The work is signed lower right and presented in a fine burr walnut frame. Tryon Gallery, London exhibition label verso. This work likely sold at the artist's 1972 exhibition at the Tryon Gallery - details below. This portrait is featured on the website of the artist under Portraits. Artist: Susan Crawford (Scottish, b. 1941) Title: Nude Sitting Medium: Oil on panel Size: 27 x 23 in (59 x 49 cm) including frame Condition: Ready to hang Provenance: Tryon Gallery, Dover Street, London Susan Crawford was born in Scotland in 1941 and was brought up on a farm in East Lothian where her parents bred and trained racehorses. She was educated at St Denis School, Edinburgh and at Priorsfield, Godalming, before studying classical drawing for two years at Studio Simi in Florence. In 1967 she went to Ireland for a few days and stayed for almost two years, thereby kicking off her professional career as an equestrian artist. On returning to London she bought a studio and started getting private commissions to paint a number of famous racehorses and several royal portraits. She has to date painted 22 Derby winners. Her first joint exhibition was with the Tryon Gallery in 1969, where she sold all her pictures on the opening night. Over the next 40 years she travelled widely; firstly to the USA then Canada, Germany, Brunei, Australia and the Sultanate of Oman as well as with numerous visits to Ireland and throughout the UK. “Susan Crawford’s working of her paintings is masterly and shows a deep love of horses and animals, together with a special sensitivity towards the human form and personality. Such talent is a rare gift and one that brings enormous and lasting joy into the lives of all who come into contact with it.” HRH The Prince of Wales Portrait Commissions include: HM The Queen, HRH The Prince of Wales, HM Queen Elizabeth The Queen Mother, HRH The Princess Margaret , HRH The Princess Royal, HH The Sultan of Brunei and HM Sultan Qaboos...

A beautiful c.1930 English post-impressionist / pointillist oil on canvas depicting two young men at a table. The work is superbly executed with a wonderf...

A beautiful signed and dated 1943 French impressionist oil on panel self portrait by Charles Picart le Doux, who was friends with Picasso, Pissarro and many other Paris based artists...

A beautiful 1920's French or possibly German post-impressionist oil on canvas portrait of a fisherman. Excellent quality work painted with quick, sketchy brush strokes against a mott...

This beautiful large 20th century oil on canvas by Tim Dolby depicts a young lady in Southeastern European dress playing a lute. A striking and superbly executed portrait, presented ...

'Island of Broken Toys' 2019, a diptych contemporary oil on canvas painting by Tamera Avery, whose paintings are created with wit and wisdom. Avery's work...

Ralph Pallen Coleman (American 1892-1968) A Monumental Painting of "The Resurrection of Jesus Christ", circa 1940. Measuring 102" high x 77" wide (framed), this massive oil on canvas painting is truly one of a kind. The quality throughout the entire painting is masterful. The painting is very realistically painted with bright, vibrant, colors which shows the artists true passion and love for Jesus and Christianity. Ralph Pallen Coleman was an American painter and illustrator. His career spanned more than half a century during which he illustrated stories for many magazines, and later, religious illustrations and paintings which provided images of Christianity to millions of people during the 1950s-1960's. A native of Philadelphia, Pennsylvania, he grew up and lived there throughout his 75 years. He received his formal art education at the Philadelphia School...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...

Provenance: 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...