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First Battle Between The puritans And the Native Americans, Oil on Canvas 1874
Located in Paris, FR
Our painting represents a military scene — an event during the war between European settlers and Native Americans.
Oil on canvas, signed and dated at the bottom right :
Imogene Robinson Morrel- PARIS 1874
American School XIXth century
Imogene Robinson was born in Attleboro, Massachusetts, at the beginning of the 19th century. She studied art at the age of 16 in Newark New Jersey, then in New York City. In 1856, Robinson went to Europe for the first time. She studied under Adolf Schroeder and Wilhelm Camphausen in Düsseldorf, Germany.
Then, Europe called to her again. She went with a friend, Elizabeth Gardner. In July 1864, they arrived in Paris and made a living copying great works from the Louvre and Luxemburg museums for American patrons. The two artists were in close contact with the colony of American artists in Paris, but they likewise befriended French painters Meissonnier and Bouguereau. In 1869, Imogene Robinson married Colonel Abraham Morrell. In 1871, Gardner moved into her last place, 73 rue des Petits Champs and became neighbors with Bouguereau. Several years later, in 1895, she married him.
As long as we can follow her official path to the Salons of 1868 and 1869, her entrée as the first woman at the Academy Jullian in 1873, we observe that Robinson Morrell did not participate in the Parisian art demonstrations. She studied portraiture and landscapes under François–Louis Français (1814-1879), and took certain courses taught by Thomas Couture (1815-1879), the last historical painter of the second half of the 19th century. Couture received many students, most notably Americans including Hunt and Longfellow. It was during this period that Imogene Robinson Morrell began her great historical compositions and painted our version of the First battle between the puritans...
Category
1870s Academic Figurative Paintings
Materials
Canvas
The Pearl Lady, Oil on board signed Honthorst, dated 1644
By Gerard van Honthorst
Located in Paris, FR
The Pearl Lady, most probably Elisabeth of Bohem, Princess Palatine.
Oil on board signed Honthorst, dated 1644
Within a beautiful tortoise shell
With a certificate by René Millet ( Well Known French Expert in Paris)
The young unknown portrait shows the talent of the artist. We will appreciate the quality of glazed face, the light in the beads and the psychological analysis of the model. We almost read the character of the model. This type of face is found throughout the valley of the Rhin, Switzerland, the Netherlands.
Our beauty is flirtatious and love beautiful pearls, symbol of fidelity. And so the large barocco pearl, the earrings, the necklace, the adornment in her hair; all attest of the prosperity.
Gerrit Van Honthorst was born in 1590 and died 1656.
His career is divided into two very different parts.
In the first part of his life he is The “Night Master”, "Cavaragesque" painter, that the Italian nicknamed GUERARDO OF THE NOTTE. This period mainly Roman, which will influence LA TOUR and REMBRAND overshadowed the rest of his work.
Indeed, it has been forgotten today; but when GUERARDO DE LA NOTTE returned to Utrecht, he became a fashionable portrait's painter. Radical changes without knowing the real reasons although it is often forgotten that a painter like everyone needs to survive ... Especially since the death of Van Dyck has opened the road to our artist who will rush into exploiting it. He is called to the court of Charles I, in London, where he will paint the king and the nobles of the court. In 1637, he moved to The Hague and become Van Dyck's official successor for the Netherlands and all Europe.
Gerrit van Honthorst’s night paintings caused such a sensation in Rome that he was known as Gherardo delle Notti...
Category
17th Century Old Masters Portrait Paintings
Materials
Wood Panel
Fishermen By The Lake, Oil On Canvas, Signed Dommersen, Dutch School, 1870
By Pieter Cornelis Dommersen
Located in Paris, FR
Oil on canvas depicting a scene of Fishermen by a lake, Dutch landscape.
Signed on the lower left corner of Pieter Cornelis Dommersen.
Painter of Dutch seas and landscapes, in Lond...
Category
Late 19th Century Academic Landscape Paintings
Materials
Oil
Engraving Hunting: Deer Hunting With Lasso
Located in Paris, FR
Engraving: The Deer hunting
Woodcuts and copper engraving, after Jan Van der Straeten so called Stradanus (Bruges 1523-Florence 1605).
A historical, mythological, religious, allegorical, genre scenes, landscape and mural compositions painter.
He lived in Antwerp, Venice, Florence, where he worked for the Medici
He then met Vasari and worked with him at the the Vatican, the Palazzo Vechio ....
Out of a set of 5 prints:
- The Duck Hunting
- The ibex hunting with dogs...
Category
18th Century Renaissance More Art
Materials
Engraving
Bacchanal scene with nymp and Satyrs, pencil on Paper signed and dated 1778
Located in Paris, FR
A Nymph and two Satyrs
Signed lower right "................fecit" and dated 1778
Grey wash over charcoal and brown ink, on laid paper
27 x 40.5 cm / 10.5 X 16 inches
Framed : 51 x...
Category
1770s Academic Figurative Drawings and Watercolors
Materials
Pencil
Gallantry Scene in a Tavern, Oil on Canvas Signed Rigot and Dated 1874
Located in Paris, FR
Beautiful painting depicting a gallantry scene, an officer and a young lady sitting on a pool table inside a Tavern.
Signed lower right Rigot and dated 1874.
Austrian or German Sc...
Category
1870s Academic Interior Paintings
Materials
Canvas
Waterfall landscape signed Eugène Deterre, Bruges circa 1830
Located in Paris, FR
Painting, oil on panel depicting an animated landscape with river and waterfall.
Signed Deterre Eugene (1810-1842) and located Brugges.
Flemish School, circa 1830 Belgian.
WithIn ...
Category
1830s Academic Landscape Paintings
Materials
Wood Panel
Engraving Hunting: The Hunt For The Vipers
Located in Paris, FR
Engraving, "the hunt for vipers" xylographs (wood and copper engravings), after Jan Van der Straeten, dit Stradanus (Bruges 1523-Florence 1605). Painter of history, mythological, rel...
Category
18th Century Renaissance More Art
Materials
Engraving
Hunting Engraving: Hunting Ibex With Snakes
Located in Paris, FR
Engraving: The Ibex hunting with snakes
Historical , mythological, religious, allegorical subjects, genre scenes, landscape painter.
Mannerist. He settled in Antwerp, Venice, Flore...
Category
18th Century Renaissance More Art
Materials
Engraving
Young Woman With A Rose Signed Grandin Dated 1888
Located in Paris, FR
Portrait of a young woman holding a rose.
Oil on canvas signed Grandin and dated 1888.
French School XIXth Century
Dimensions: 80 x 21.5 cm ( 31.496 x 8.268 inches)
Dimensions wi...
Category
1880s French School Portrait Paintings
Materials
Oil
Engraving Hunting: Hares Hunting With Cheetah
Located in Paris, FR
Engraving, "The hare hunt with Cheetah" xylographs (woodcuts and copper engravings), after Jan Van der Straeten, dit Stradanus (Bruges 1523-Florence 1605). Painter of history, mythol...
Category
18th Century Renaissance More Art
Materials
Engraving
Ploughmen and their Horses, oil on canvas Monogrammed M.TH and dated 1887
By Michael Therkildsen
Located in Paris, FR
“The ploughed horses break”
Oil on canvas signed Michael Therkildsen, dated 1887.
Monogrammed bottom right M TH and dated 1887.
Danish school
Exhibited at the universal exhibition ...
Category
1880s Barbizon School Animal Paintings
Materials
Canvas
Portrait of Young Boy, Oil on Canvas Signed Felix Bryk, circa 1910
Located in Paris, FR
Lovely portrait of a young Boy standing on an armchair.
Oil on canvas signed Felix BRYK.
Swedish School, circa 1900-1910
Portraitist and ethnologist of the early twentieth century.
...
Category
1910s Academic Portrait Paintings
Materials
Canvas
The Circus, The Party Is Here! Oil On Board Signed Patrick Franc And Dated 1962
Located in Paris, FR
The Circus, The Party Is Here!
Oil on board signed bottom left Patrick Franc and dated 1962
Dimensions: 50 x 65 cm ( 19.685 x 25.591 inches)
Dimensions with frame: 56 x 71 x 1 c...
Category
1960s Contemporary Figurative Paintings
Materials
Oil
View of Royat, Puy-de-Dôme, circa 1830
Located in Paris, FR
Painting, oil on paper pasted on panel, representing a view of the city of Royat, located in the department of Puy-de-Dôme.
Located in the western suburbs of Clermont-Ferrand, the c...
Category
1830s Italian School Landscape Paintings
Materials
Oil
The Hunting with Hounds Oil On Canvas by Eugene Pechaubes circa 1935
By Eugene Pechaubes
Located in Paris, FR
Oil on canvas representing a hunting.
Signed bottom right E. Pechaubes.
Eugène Pechaubes (1890-1967). French school XXth century.
He mainly painted horses and horce racing.
Within...
Category
Mid-20th Century Academic Animal Paintings
Materials
Canvas
The Barn, Oil On Bord, Signed Jean-Charles Cazin, Barbizon School, 1865
By Jean-Charles Cazin
Located in Paris, FR
Oil on panel representing a barn, signed JC Cazin on the lower left corner.
Jean Charles Cazin (1840-1901) Born in Samer (his father, from Bologna,...
Category
Late 19th Century Barbizon School Landscape Paintings
Materials
Oil
Mediterranean Capriccio, Oil on canvas by Abraham Storck, circa 1680
By Abraham Jansz Storck
Located in Paris, FR
« A Mediterranean capriccio »
Oil on canvas by Abraham STORCK
With an appraisal by René Millet ( Well Known French Expert in Paris)
Within a tortoise-shell Turtle
This oil on canvas...
Category
17th Century Old Masters Landscape Paintings
Materials
Canvas
Simone, Pastel On Paper, Signed Jean-Albert Grand-Carteret
By Jean Albert Grand-Carteret
Located in Paris, FR
Portrait of a naked woman, Simone.
Pastel signed on the left side J.A.GRAND-CARTERET.
Circa 1930-1940.
Jean Albert Grand-Cartenet is a painter of nudes and portraits who was the ...
Category
1940s Modern Nude Drawings and Watercolors
Materials
Pastel
The Paris Hotel de Ville , Watercolor signed Signed E. Galien Laloue, circa 1920
By Eugene Galien-Laloue
Located in Paris, FR
View of Paris: The Hotel de Ville banks and the statue of Etienne Marcel under Snow
Watercolor
Signed E. Galien Laloue, circa 1910-1920
Appraisal by Mr Noé Willer.
(Will figurate in...
Category
Early 20th Century Academic Landscape Drawings and Watercolors
Materials
Watercolor
Edith Piaf On Stage Watercolor signed Charles Kiffer circa 1935
By Charles Kiffer
Located in Paris, FR
Edith Piaf on stage watercolor and pencil on paper, mongrammed K for Charles Kiffer (1902-1992), Workshop stamp.
Charles Kiffer is well known for his figures, paintings, prints, pos...
Category
1930s Modern Portrait Drawings and Watercolors
Materials
Watercolor
View Of A City, Animated Landscape by Jean Victor Bertin
Located in Paris, FR
"View of a city, animated landscape" attributed to Jean Victor Bertin.
Oil on panel VB monogrammed, Circa 1830
Within its original giltwood frame from the same period.
Dimensions without frame Height: 56 cm / 22 inches Width: 90 cm / 35.4 inches
Dimensions with frame Height: 76cm / 30.7 inches Width: 108 cm / 42.5 inches
Depth: 8 cm / 3.14 inches
Certificate of authenticity
Jean-Victor Bertin (1767-1842) was a French landscape painter of the neoclassical school.
Considered as one of the masters of the historical landscape's school, he painted an abundant production influenced by Italy.
Therefore, he is one of the most talented representatives of the landscape "adjusted" Italianate character and elegiac.
He played the role of intermediate between the historical landscape and the romantic movement.
His paintings are found in many museums : Beziers, Fontainebleau, Dijon, Honfleur, Rennes, Versailles, Angers, Autun, Carpentras, Cherbourg, Coutances, Evreux, La Fere, Lille, Quimper, Nantes, Reims, Rouen, Toulouse.
Bibliography:
Dictionary French landscape painters of the nineteenth century, Lydia Harambourg.
Dictionary of the Little Masters...
Category
1830s Landscape Paintings
Materials
Oil, Wood Panel
The Flight of the Holy Family to Egypt, Oil on canvas, Italian school circa 1680
Located in Paris, FR
The Flight into Egypt, an episode of childhood of Christ in the New Testament, representing Joseph, Mary and Jesus on a donkey, fleeing from Palestine to Egypt, at the behest of the ...
Category
17th Century Old Masters Interior Paintings
Materials
Canvas
Children playing in the park, oil on canvas signed Joseph Dierickx dated 1903
By Joseph Dierickx
Located in Paris, FR
A "genre" painting representing a mother supervising her two small daughters at the Park.
Oil on canvas signed bottom right Joseph Dierickx and dated 1903.
Dierickx Joseph (1865-19...
Category
Early 20th Century Academic Figurative Paintings
Materials
Canvas
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Portrait of a Lady in an Elaborate Ruff & Lace Coif c.1610-20, Dutch Old Master
Located in London, GB
This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture.
The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres.
Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum.
The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect.
The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio.
The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing.
The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style.
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