Items Similar to Portrait Of A Young Woman
Want more images or videos?
Request additional images or videos from the seller
1 of 12
Adriano GobyPortrait Of A Young Woman Circa 1890
Circa 1890
About the Item
Adriano Goby 19th century oil portrait of a beautiful young lady, circa 1890s
Superb antique oil portrait, possibly, French. The painting is signed in the upper left corner (see pics).
The young woman looks like she could be a dancer holding a bouquet of roses from an admirer.
Original oil on canvas. Dimensions: 12" x 16". The distressed period frame measures: 18.5" x 22.5".
The frame needs restoration. The painting and canvas show minimal age.
This is one of the finest portraits in our collection. We think you'll agree.
- Creator:Adriano Goby (Italian)
- Creation Year:Circa 1890
- Dimensions:Height: 22.5 in (57.15 cm)Width: 18.5 in (46.99 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:The painting and canvas show some minor distress. The frame shows gilding loss and some chips. Please see all images.
- Gallery Location:San Francisco, CA
- Reference Number:1stDibs: LU137826166932
About the Seller
4.9
Gold Seller
These expertly vetted sellers are highly rated and consistently exceed customer expectations.
1stDibs seller since 2020
426 sales on 1stDibs
Typical response time: 5 hours
- ShippingRetrieving quote...Ships From: San Francisco, CA
- Return PolicyA return for this item may be initiated within 2 days of delivery.
More From This SellerView All
- Mid 20th Century "Musicians" Original Oil PaintingLocated in San Francisco, CAMid 20th Century "Musicians" Original Oil Painting Fine oil portrait of two musicians One flute player, one drummer Original oil on linen over board Dimensions 31" wide x 40.5" h...Category
Mid-20th Century Impressionist Portrait Paintings
MaterialsOil
- 18th to 19th Century English Oil PortraitLocated in San Francisco, CA18th to 19th Century English Oil Portrait Original oil on canvas Canvas dimensions 26" wide x 34" high The frame measures 31.75" wide x 39" hig...Category
Early 19th Century Impressionist Portrait Paintings
MaterialsOil, Canvas
- Arthur J. Krakower "December 31, 1996" Original Oil Painting c.1996By Arthur KrakowerLocated in San Francisco, CAArthur J. Krakower Oil Painting c.1996 Original oil painting by listed Octogenarian artist Arthur J. Krakower. Krakower took up painting later in life. Most of his works are done w...Category
Late 20th Century Impressionist Figurative Paintings
MaterialsOil, Canvas
- Vasileos Kapousouz Oil Portrait of Woman c.1971Located in San Francisco, CAVasileos Kapousouz (Greek, b.1912-1985) Portrait of Woman c.1971 Fine oil portrait of an older woman with a diamond ring. The painting is created with oils on masonite. This is one...Category
Mid-20th Century Impressionist Portrait Paintings
MaterialsMasonite, Oil
- Harry McCormick "The Artist Studio" Original Oil Painting c.1970By Harry McCormickLocated in San Francisco, CAHarry McCormick (New York, b. 1942) "The Artist Studio" Original Oil Painting c.1970s Magnificent realist painting by New York artist Harry McCormick. Harry McCormick is a painter ...Category
Mid-20th Century Impressionist Portrait Paintings
MaterialsOil, Masonite
- Portrait of a Young Child by Henton c.1910Located in San Francisco, CAWonderful antique portrait of a charming young girl c.1910 The painting is created with oils on board. Dimensions 8" x 11.5". The frame measures 13" x 16.5". The painting is in go...Category
Early 20th Century Impressionist Portrait Paintings
MaterialsOil, Canvas
You May Also Like
- Audrey Hepburn -Vogue Red-original abstract pop art portrait painting-ArtworkBy Patrick CorneeLocated in London, ChelseaIn Patrick Cornee's captivating artwork, "Audrey Hepburn -Vogue Red," the legendary actress Audrey Hepburn is immortalized in a vibrant celebration of style and sophistication. Set a...Category
21st Century and Contemporary Impressionist Portrait Paintings
MaterialsMixed Media
- Portrait Gentleman Black Coat Orange Sash, Dutch Old Master, Oil on Panel c.1650By Bartholomeus van der HelstLocated in London, GBThis exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when 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 middle-class 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. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Wood Panel
- Oil on Canvas Painting -- AndrewBy Barbara MastersonLocated in Troy, NYThis oil on canvas painting is of an agricultural worker in the Hudson Valley. The artist painted migrant workers on a farm in this series of works. His smiling face is a sharp contr...Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Oil
- Portrait of a Young Gentleman and Pet Dog c.1680, Antique oil on Canvas PaintingBy (Circle of) Mary BealeLocated in London, GBThe portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...Category
17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of Young Gentleman, Lord George Douglas, Arcadian Landscape c.1710Located in London, GBPortrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...Category
18th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Portrait of a Lady, Maria Virginia Borghese Chigi Princess Farnese Oil on canvasLocated in London, GBThis exquisite portrait, presented by Titan Fine Art, belongs to a type of portrait known as ‘Les Belle Romanes’; Voet is perhaps best remembered for his series of them – a great set of portraits...Category
17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Antique Painting Of A Woman
19th Century Painting Of A Woman
Needs Restoration
19th Century French Portrait Woman
19th French Portrait Woman
Antique Portrait Painting Woman
Antique Distressed Paintings
Charles Edward Stuart
Grisaille Portrait
Joshua Green
Lord Leighton
Lord Nelson Painting
Pilgrim Portraits
Sarah Jack
Ferris Wheel Vintage
Gonzaga Painting
Minerva Portrait
Robert Indiana Bridge