Huybrecht Beuckelaer

Portrait of an Artist (possibly a Self-Portrait)

c. 1566

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

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...

Procaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...

Signed and dated, lower left: Louise Hersent/ 1823 Provenance: Private Collection, Chicago, by 1996 Private Collection, Florida This charming portrait of a young boy is the work of Louise-Marie-Jeanne Hersent, a little-known woman artist of the French Restoration often identified by her maiden name, Mauduit. While Hersent—as we will call her here following the signature on the painting—has been understudied, the known details of her life and career reveal that she held a privileged position in artistic life in the early nineteenth century in Paris. She exhibited at the Salon from 1810 until 1824, and in 1821 she married the painter Louis Hersent, a successful pupil of Jacques-Louis David who was patronized by Louis XVIII and Charles X. It is likely through her husband’s royal patronage that Hersent’s Louis XIV Visits Peter the Great was purchased for the Royal Collection in Versailles. In 1806, while still Louise Mauduit, she painted a portrait of Napoleon’s youngest sister, Pauline Bonaparte...

Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from the late Renaissance period. Spanish school. Size: Cm 19 x Cm 13.5 Oil on wooden panel. On the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment. About 1600-1610. As often in Mannerist / Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here: DON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?) (1534, Autillo de Campos, Spain - 1601, Córdoba) Francisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba. He was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid. Francisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination toward religion and piety from an early age. He studied Latin, arts, and theology at the University of Salamanca. In 1562, he traveled to Rome with his brothers Pedro and Luis. In January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary. After Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuel was a canon. He supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books. During the brief outbreak of the Black Plague...

Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo). This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this time gone are the complicated layers of fabrics, and now replaced with understated elegance of plain silk (satin and taffeta were most popular), with only a couple of focal points as accessories. There is an abundance of the accessory par excellence – pearls, and they are worn as a necklace, on her attire, and as earrings; the pear-shaped earrings are called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth. The portrait is thought to represent Thomas Bruce (1596-1654), Earl of Elgin. The physiognomy and features in our portrait strongly correlate to a portrait of the Earl, by Cornelius Johnson (1593-1661), painted circa 1638, and is held at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to ours and is thought to represent the Earl’s wife, Diana Cecil, 1st Countess of Elgin (c.1603-1654) - it appears to have derived from Cornelius Johnson’s depiction of the Countess circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. There are also other portraits by Johnson of the sitter with very similar facial features to that of the sitter in ours. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson. Thomas Bruce, 1st Earl of Elgin, was a prominent Scottish nobleman who held titles such as the 3rd Lord Bruce of Kinloss. He resided at Houghton House in Bedfordshire and played a significant role in the political and social landscape of his time. His legacy as an Earl and Lord continues to be remembered in history. Thomas Bruce, born in Edinburgh in 1599, inherited the Scottish peerage title as the 3rd Lord Bruce of Kinloss at the age of 13 following his brother's untimely death in a duel. The family's estates, including Whorlton Castle and manor, were granted by King James I of England to Thomas's father, with the wardship of Thomas and the estates entrusted to his mother until he reached the age of 21. He maintained a strong connection with King Charles I's court during the Personal Rule, receiving titles of honour and prestigious roles throughout the years. Thomas Bruce was married twice in his lifetime. His first marriage was to Anne Chichester in 1622. Ann died in 1627, the day after giving birth to their only child, Robert Bruce, who later became the 1st Earl of Ailesbury. On 12 November 1629, Thomas Bruce married Lady Diana Cecil, the daughter of William Cecil and widow of Henry de Vere. The marriage was childless, but Diana brought significant estates with her. Thomas Bruce died on 21 December 1663 at the age of 64. This oil on panel portrait has been well cared for over its life, which spans almost four centuries. Having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Presented in a fine period frame. Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility. Provenance Richard Hill...

Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo). This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this fashion moved away from complicated layers of fabrics to an understated elegance of plain silk (satin and taffeta were most popular) with only a couple of focal points as accessories. However, obligatory for any respectable woman, pears are shown in abundance, as a necklace, on the dress attire, and pear-shaped earrings called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth. The subject is thought to be Diana Bruce née Cecil, 1st Countess of Elgin (c.1603-1654). The physiognomy and features strongly correlate to a portrait of the countess by Cornelius Johnson (1593-1661), painted circa 1638, at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to this and is thought to represent the countess’s husband, Thomas Bruce, 1st Earl of Elgin (1599-1663) – it appears to have derived from Cornelius Johnson’s portrait of the Earl, of circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, appears to have modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson. Diana Cecil, Countess of Oxford (1596–1654), later Countess of Elgin, was an English aristocrat. She was probably the middle daughter of the three daughters of William Cecil, 2nd Earl of Exeter and Elizabeth Drury. Her first husband, Henry de Vere, 18th Earl of Oxford, died in battle only 18 months after their marriage in 1624. She married her second husband Thomas Bruce (1599-I663) in 1629, becoming the Countess of Elgin in 1633. Her portrait was presumably painted at a similar time as the companion portrait of her husband, the Earl of Elgin. She died in 1654, outlived by her husband and leaving no children. A large monument exists of the countess in her burial shroud at Ailesbury Mausoleum, Bedfordshire. The work has been well cared for over its life, which spanning almost four centuries, and having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Presented in a fine period frame. Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility. Provenance Richard Hill...

This ravishing portrait, presented by Titan Fine Art, is said to represent Elizabeth Stuart, a British princess, who from 1619 was the titular queen o...