Follower of Antonio Campi (Cremona, 1524-1587)

Christ Old master Oil on canvas Paint 17th Century Art Italy Religious Campi

1600-1699

Tuscan painter active towards the end of the 16th century Portrait of Captain Niccolò Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola. Tuscany, end of the 16th century Oil on canvas, 64 x 47 cm., Framed 89 x 73 cm. The portrait we present to you shows the effigy of a vigorous high-ranking male figure in armor, in the most typical Renaissance pose, half-length and taken in profile, with his face and gaze turned to the side; the serious and intense expression and the facial features evoke at first glance the portraiture of early Florentine mannerism. He is Niccolò III Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola and son of Aldobrandino Orsini, famous leader and captain (or capitano di ventura) who lived between the fifteenth and sixteenth centuries, who served for the state Pontifical in Naples and Florence and above all for the Republic of Venice. Portraiture with these characters, which derives from ancient coinage, was used in the sixteenth century in the sequences of Portraits of Illustrious Men, both in painting and in sculpture. The profile portrait was in fact a genre reserved, according to the Renaissance tradition, for celebrations, presenting those characteristics of imperturbability typical of the military role covered. Our painting is a work created by an author active in Tuscany towards the end of the sixteenth century, adhering to those pictorial styles made famous by the portraitist Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then of Pontormo, known for having created a collection of about 500 portraits of illustrious men, known as the 'Gioviana Series' (now in the Uffizi Gallery); and among these it is possible to identify one dedicated to Niccolò Orsini. Our painting is inspired, in particular, by a print taken from the collection of prints...

The beautiful portrait proposed, which represents a Genoese woman of high social origin and dressed in a sumptuous and elegant manner, illustrates the typical stylistic characteristics of the great Genoese portrait painter Giovanni Maria Delle Piane, called the Mulinaretto. Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745), attributed Portrait of a noble Genoese nobleman Beginning of the 18th century Oil on canvas, 79 x 65 cm, In a beautiful carved and gilded wooden frame cm. 106 x 89 The noble lady displays a stern and proud expression, a smile which has just been mentioned but full of determination; the well-erected and authoritative pose is softened by the habit of the red ribbon woven in the hair, reminiscent of the brocade of clothes, according to an interpretive taste typical of Delle Piane. In the painting we appreciate the meticulous detail of the lace of the sleeves and fabrics on the neckline, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that envelops the figure and that emerges from the the dark background. Finally, the pleasant conduction which characterizes the refined line is appreciated in the capacity to make the light glide on the clothes and the complexion of the woman. The artist, pupil of Giovanni Battista Gaulli...

Saint John the Evangelist French school of the eighteenth century Oil painting on canvas 82 x 64 cm. - in frame 102 x 84 cm. In this pleasant painting we see the portrait of the evangelist John, holding a pen in his hand while writing the pages of the Gospel, while behind him it is possible to recognize the profile of an eagle, his typical iconographic attribute. The graceful face, which still reveals the devout attitude, which gives the painting a more intimate and delicate, not excessive religiosity, is one of the typical characteristics for works intended for domestic devotion, as in the case of this Saint John. From the representation of the Saint the freshness of his features immediately stands out, he is in fact portrayed as young and handsome: and it is precisely this iconographic peculiarity that makes the work fascinating and very pleasant, probably commissioned for a private room. The painting presents the peculiarities of eighteenth-century French portraiture, characterized by a soft drawing and a wise use of light. The rather marked chiaroscuro and well-calibrated shades produce an excellent result thanks to the play of light on the face, highlighted by the dark background of the scene. The painting has been relined and is in an excellent state of conservation with the colors still bright and a very healthy pictorial layer. The painting is sold together with a nice golden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

Lombard painter active in the 17th century Infant Jesus Oil painting on canvas 70 x 82 cm. - In antique frame 78 x 91 cm. This painting depicts an unusual and pleasant iconographic...

Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...

Hendrick ter Brugghen (The Hague 1588-1629 Utrecht) Workshop Violin Player Oil on canvas 72 x 60 cm. Framed 87 x 78 cm. An analysis of the composition and style of this interestin...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

This replica of the last self-portrait of Jean-Baptiste Greuze painted in 1804, executed by his daughter Anna at her father's side and recently rediscovered, provides us with a poignant image of the great artist, represented with panache despite the disillusions of life. 1. Jean-Baptiste Greuze Jean-Baptiste Greuze was the sixth child of a roofer from Tournus and retained a certain rusticity in his behaviour from his provincial childhood, beyond his taste for describing picturesque scenes of the countryside. He initially started training with a little-known painter from Lyon, Charles Grandon, before his genius was recognised in Paris where he became a full-time student of the Académie (of Painting) in 1755. He exhibited his work for the first time at the Salon during the summer of 1755, before leaving on a trip to Italy in the company of Louis Gougenot, abbot of Chezal-Benoît. Upon his return to Paris, Greuze became a prolific painter, participating widely in the Salons held between 1759 and 1765, to which he sent no less than 63 paintings: numerous genre scenes (The Marriage Contract, The Beloved Mother), but also portraits of his family circle, of courtiers and art lovers, or of his colleagues. The Academy closed the doors of the Salons to him in 1767 for not having produced his reception piece within six months of his reception, as was the tradition. He worked actively on this painting (Emperor Severus rebukes Caracalla, his son, for trying to assassinate him ) until the summer of 1769, tackling historical and mythological subjects for the first time. Once this was completed, he was then fully admitted to the Academy, but as a genre painter, and not as an historical painter, which had been one of the greatest humiliations of his life. Greuze then refused any participation in events organised by the Academy or its successor, the Academy of Fine Arts until 1800. Abandoning history painting, he gave a new twist to genre scenes, bringing them closer to history painting, as in this pair of canvases which constitutes some of his masterpieces: The Paternal Curse: The Ungrateful Son and The Paternal Curse: The Punished Son . Married in 1759 to Anne-Gabrielle Babuti, the daughter of a Parisian bookseller, his marriage was unhappy and his wife probably frequently unfaithful. The institution of divorce enabled him to record their separation in 1793, keeping his two daughters Anna-Geneviève, born in April 1762, and Louise-Gabrielle, born in May 1764, with him. Little is known about his daughter Anna except that she was herself a painter and lived with her father until his death. It is likely that most of the paintings she produced up to that date were attributed to her father, whose technique she shared to a great extent, making it extremely difficult to establish an autonomous corpus of her paintings. Greuze died in his studio at the Louvre on March 21st 1805. The attention paid to the expressivity of his characters and the emotional charge they convey enabled Jean-Baptiste Greuze to enjoy immense popularity with the eighteenth-century public, and they still constitute Greuze's true modernity. As the artist said, "I dipped my brush in my heart". Greuze was also an exceptional draughtsman and a portraitist of immense talent and exceptional longevity who painted both the Dauphin (the son of Louis XV and father to Louis XVI) and the young Napoleon Bonaparte. 2. Greuze's self-portraits Greuze was very much influenced by Dutch paintings during all his life. While the source of his inspiration for genre scenes can be found in Gerard Dou...

A 19th century oil on canvas, portrait of a young woman.This portrait is believed to be of Queen Mary II taken from an engraving of the painting, Halswell Park Sale, 1948, lot no.1323, Housed in a decorative gilt frame.Size overall being 70 x 86 cm high (27.5 x 33¾ inches approx) size of painting 54 x 68 cm (21 x 26 inches approx) To the rear of the portrait is a newspaper cutting of the engraving ,also a typed note regarding the provenance of the painting (see photo) Condition overall is very good, the Canvas has been relined, under UV there are areas of overpaint to bosom.Frame overall very good some minor self coloured losses Mary II (30 April 1662 – 28 December 1694) Mary, born at St James's Palace in London on 30 April 1662,eldest daughter of James, Duke of York (the future James II & VII) , and his first wife, Anne Hyde. Mary's uncle was King Charles II, her maternal grandfather, Edward Hyde, 1st Earl of Clarendon, served for a lengthy period as Charles's chief adviser. Mary married William of Orange. Willem Wissing, known in England as William Wissing...

A fine oval portrait of George Granville, PC, 1st Baron Lansdowne and "Duke of Albemarle" in the Jacobite peerage (1666-1735) Studio of Sir Godfrey ...