Evangelista Schiano

18th Century by Evangelista Schiano Saint Gennaro Oil on Canvas

Second half of 18th Century

Giovan Battista Moroni (circle of) (Albino, 1520 – 1580 ca.) Portrait of a woman Oil on canvas, cm. 46 x 40 - with frame cm. 55,5 x 50,5 Antique shaped and gilded wooden cassetta frame. Publications: unpublished. The present portrait shows an adult woman, no longer young, as can be seen from her slightly blistered cheeks, but not elderly either. The suspicious and veiledly inquisitive gaze is well matched by the elegance of her extremely fashionable black clothes...

Nicolò Zafuri (circle of) (documented in Candia between 1487 and 1500, died before 10 July 1501) Madonna with Child oil on panel, cm. 49 x 40 This precious panel depicting the Mado...

Cristoforo Serra (Cesena 1600 - Cesena 1689) Portrait of a Shepherd Oil on canvas, cm. 92 x 75 - with frame cm. 106,5 x 94,5 Antique giltwood cassetta frame, carved and sculpted Pu...

“Timete Deum et date Illi honorem quia venit hora iudicii Eius” (Fear the Lord and honour Him, for the hour of His judgement has come): the passage from John's Apocalypse (chapter 14...

Dimensions: 41 x 32 cm without frame - 47 x 55.5 cm with frame Antique box frame made of solid wood and walnut burl. Publications: unpublished The painting by Bernardino Detti (14...

Beautiful original frame in gilded wood. Expertise by Prof. Fernando Mazzocca.

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

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...

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...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...

Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...