Robert Edward Morrison Art

Up for sale is this detailed and tentative portrait of an elegant woman in a common room or 'parlor'. By a famous English Pre-Raphaelite artist. Barked Frederick Lowcock. The woman can be seen standing before beautifully decorated interior. Some of the focuses in this painting is the stained glass window, a tall marble statue of a woman, exotic palm leaves and plants, paintings, easels, and antique furniture, a . By placing the objects in their proper places, Lowcock gave the observer a better understanding of who was being depicted in his portraits. The Royal Academy (1878–1904), Suffolk Street (1880–1892), and Thomas McLean's gallery (1892) all hosted Lowcock exhibitions. A number of biographical dictionaries, notably Benezit and Wood's Dictionary of Victorian Painters, which features an image of his work, mention Lowcock as an artist. The abbreviation CF Lowcock RBA, which stands for Royal Society of British Artists, is sometimes used to refer to Charles Frederick Lowcock. Pre-Raphaelite Woman in Study Sight size 10x18.5 inches With frame 20x29 inches Oil on Panel With Gilded Frame Signed lower left Lechertier...

19th Century Italian Orientalist Masterpiece Painting "Four Women In The Harem" circa 1880, in the Circle of Rudolf Ernst. Oil on canvas. "The O...

A charming silhouette of a group of children ambling along. So much character is expressed through the minimal monochrome depiction. English or American School, 19th Century A silhouette...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

The Gleaner by Charles Sillem LIDDERDALE (British, 1831-1895) signed & dated 1890 oil painting on canvas, framed in what we believe to be the original frame framed: 51.5 x 37.5 inch...

Attributed to George Earl Exceptional English 19th century oil on board of a terrier head study in profile. The quality of the painting is totally outstanding with great skill in how the eyes and fur are painted throughout the painting. The Earl family were all very skilled painters of animal portraits . This piece has all the quality of either George or Thomas Earl...

late 19th-century Irish school portrait of a seated man smoking a pipe in a barn interior. A very well-painted and skillfully composed portrait of a wor...

A very finely detailed silhouette in very good condition by one of the truly great silhouette artists of the Georgian period. John Field (1758-1821) Portrait of a young gentleman Wa...

The Victorian Gentleman English artist, circa 1870's period oil on canvas, framed framed: 27 x 21 inches canvas: 18 x 14 inches provenance: private collection, England condition: ove...

St. Bernard Dog? English artist, late 19th century oil on canvas, framed framed: 19 x 14 inches canvas : 14 x 10 inches provenance: private collection, Wiltshire England condition: v...

Lord Nelson British artist, signed and dated lower corner signed oil on canvas, framed dated 1918 framed: 31 x 37.5 inches canvas: 22 x 30 inches provenance: private collection, Engl...

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...