Portrait Paintings

L'hymne du Roi David (King David's Dream) Oil on wood by Marc Chagall c late 70's Comes with Numbered and Verified Certificate of Authenticity from Comite C...

The Artists Model Nude Lady Model French School, circa 1970's oil painting on card, unframed size: 18 x 26 inches condition: overall very good, a very few light markings to the surfa...

Oil on canvas Image size: 29 1/2 x 24 inches (75 x 61 cm) Period gilt frame This is a notable half length portrait of a navel officer, holding a telescope. He stands wearing a blue ...

Portrait of Johann Theodor of Bavaria (1703-1763) by Joseph Vivien Johann Theodor of Bavaria (* September 3, 1703 in Munich; † January 27, 1763 in Lièg...

The Artists Model Nude Lady Model French School, circa 1970's oil painting on card, unframed size: 18 x 25.5 inches condition: overall very good, a very few light markings to the sur...

Boy & His Dog, 19th Century by Jules BRETON (1827-1906) sales to $1,500,000 Large 19th Century French country portrait of a Boy and his Dog, oil on canvas by Jules Breton. Large 19th century portrait...

Not only in the 17th century, but also in the 18th century, genre painting, where people are portrayed in their daily life, was successful. The theme of the milkmaid, which we all kn...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing the role of representative of the "public ministry", safeguarding the interests of his lord. His role, one can imagine, was crucial at the death of Michel de Conflans (in 1717) since the latter left an heir, Louis, aged only 6, and a widow, Diane Gabrielle de Jussac, whom some memoirs describe as "a very clever grande dame" . Prieur ensured the smooth running of the family's affairs and it is probably to thank him for his services that Diane Gabrielle had his portrait painted, most probably by a painter close to Jean-Baptiste Oudry. Julien Prieur appears as he is, middle-aged, with a benevolent look, in his hunting suit. Only his knotted wig links him to the nobility. Above all, he is depicted as a hunter, a passion that he shared with the Marquis of Armentières. His very young master, Louis, became a first-rate hunter, hunting in the King's entourage, in whose cabinet he died of apoplexy in January 1774. As for the his son, he was one of Louis XVI's closest hunting companions, as numerous souvenirs attest . 1. Some biographical information about the model and the commissioner While the identity of many 18th century portraits is uncertain, an old label stuck on the reverse of the canvas gives us some precise information on the identity of the model: "Mr. Julien Prieur, homme d’affaires de Mr. le Marquis d'Armentières - Commune of Brécy - Aisne". The label also suggests that it could be his son Louis Prieur living in Rocourt (probably Rocourt-Saint-Martin, a neighbouring municipality of Brécy), born on 30 September 1745, who died on 8 July 1826, but this hypothesis must be rejected in view of the model's clothing. This label probably gives us an indication on the previous owner the owner of this painting; we will see later why it seems likely that this label was affixed between 1826 and 1832. Brécy is now a municipality in the Aisne County (Hauts-de-France) located between Soissons and Château-Thierry, slightly north of the Paris-Reims axis. It borders the municipalities of Armentières-sur-Ourcq and Rocourt-Saint-Martin. According to Louis Prieur's death certificate, he was in fact born in 1743 and not in 1745 . The age of the model in the painting and the dating of this painting would indicate that Julien Prieur, was probably born at the very end of the 17th century. In Louise-Marthe de Conflans-Coigny, chatelaine de Brécy , we read that "the Conflans were a family of ancient nobility, which genealogists trace back to the 12th century, when it was said to have come from the house of Brienne. In the 16th and 17th centuries, this family had several illustrations in the profession of arms. [...] Michel de Conflans, [...] belonged to a younger branch of the family, of which Saint-Simon wrote, with his acid soaked pen, that "poor and obscure, they had never left their village, where their house resembled a hut" and elsewhere that they "lived on their rifles and cabbages". Fortunately for Michel de Conflans, the last representative of the elder branch, Henriette d'Armentières, made him her heir on her death in 1712. It was through her that the land of Armentières and its 14th century castle became part of the estate of this branch, as well as, not far from there, the land of Brécy and the castle of Le Buisson, where the family lived. In the early years of the 18th century, Michel de Conflans was able to push himself into the entourage of the Duke of Orleans, becoming his first gentleman of the chamber. However it was above all his son Louis who restored the family status through his military career. Born on 23 February 1711, Louis de Conflans, Marquis d'Armentières died of apoplexy on 18 January 1774, in the King's cabinet at Versailles. Appointed lieutenant general in 1746, he received his Marshal of France’s stick in 1768. The Dictionary of French Biography writes of him that "without ever achieving a high command, he appeared with honour in all the wars of his time". The estates of Armentières and Le Buisson were sequestered during the French Revolution, declared national property and sold at auction (in 1794 and 1795 respectively) after the Marquise d'Armentières, the Marshal's second wife, was beheaded in 1794. The Château du Buisson (where Michel de Conflans died in 1717) was bought by a granddaughter of the Marshal de Conflans, the Marquise de Coigny, in 1816 and remained in her family after her death in 1832 until the sale of the 1,054 hectares estate in 1866. The bayonet blows that probably pierced the canvas in three places may well have a revolutionary origin and it is conceivable that the painting, acquired by the Marquise de Coigny from Louis Prieur, Julien's son, after the latter's death, was then restored and given the label specifying the name of the model. 2. Description of the portrait The painting presents a man in his thirties in his hunting costume. Pictured at mid-body, his face is marked by his life in the open air and characterised by a look of great bonhomie. Holding a rifle under his elbow, he is soberly dressed in a large caramel-coloured jacket, decorated with silver buttons. Presented in a three-quarter view, the model holds a partridge in his right hand. The jacket opens onto a vermilion waistcoat. A green shoulder strap probably holds a powder flask hidden under his arm while a satchel is visible on his belt. The model is wearing a grey wig, tied at the back with a black ribbon that seems to fly in the wind. This ornament anchors Julien Prieur in his time. "The new King of France, Louis XV, [imposed] a style of smaller wigs for men and the rigorous white or preferably greyish powdering. From the middle of the century men also used a ponytail on the back of the neck, tied with a ribbon, a style that became very popular in all courts." He stands out against a dark, purplish sky at the end of an autumn day in a soberly sketched forest landscape. The treatment of the sky recalls the influence of Largillière, Oudry's first master. 3. Jean-Baptiste Oudry Jean-Baptiste Oudry was born on 17 March 1686 in Paris, rue de la Ferronnerie. He began his apprenticeship around 1705-1707 with Nicolas de Largillière, with whom he stayed for five years. In 1713 Oudry established his "livre de raison" in which he reproduced all his early works in wash drawings up until 1718. During this first period which lasted about 7 years, Oudry produced works of great diversity, both in the genres that the artist tackled and in the artists which influenced him. It has been estimated that he painted about 150 pictures during this period: mainly portraits, but also still lifes and some religious paintings and landscapes. Of the hundred or so portraits that Oudry is said to have painted during this period, only fifteen have been identified today. A number of those lost portraits are probably still confused with works by Largillière. First admitted to the Académie de Saint-Luc in 1708, he was then allowed to join the Académie Royale in 1717, and subsequently admitted as a history painter in 1719. This year marks a turning point from which Oudry will assert himself as an animal painter. In 1723 he met Louis Fagon, Intendant of Finances, and the Marquis de Beringhen, the King's first equerry, who became both friends and patrons of the artist, giving him access to royal commissions and enabling him to be appointed as painter of the Royal Tapestry Factory of Beauvais in 1726. From 1728 onwards, the creation of tapestries became the core of his work, even though at the same time Oudry developed his skill as an illustrator, first for Scarron's Roman Comique and then for La Fontaine’s Fables. Between 1726 and 1731, Oudry created the decoration of a large drawing room at the château de Condé-en-Brie, about twenty kilometres from Brécy, which has remained in place to this day. This important commission, about which few details are known, is said to have originated with the Countess de Verrüe, a great lady of the French Regency who often stayed at Condé with her friend Jean-François Leriget, Marquis de la Faye, then owner of Condé. A prolific artist, Oudry fulfilled numerous commissions in parallel with his regular contributions to the Salons, to which he regularly took part until 1753. He suffered a stroke in 1754 and died the following year. It seems almost certain, in view of the importance of his work, that Oudry supervised a workshop in which several artists were involved, but this point is very poorly documented. Given the geographical proximity of Brécy and Condé-en-Brie, the links between the Armentières family and the Condé patrons, and finally based upon the quality of our portrait, we propose the hypothesis that it was painted by one of the painters who worked with Oudry at Condé. 4. Related artworks: comparison with some other portraits of hunters by Jean-Baptiste Oudry While Oudry gradually abandoned portraiture from 1720 onwards to devote himself to animal paintings, he seems to have made an exception for hunter portraits, which were often depicted in the company of their hunting dogs. Two examples seem particularly evocative and suggest a dating for our painting around 1730. We will see in a second part why this dating proposal seems relevant. The first portrait worth mentioning is the presumed portrait of Lieutenant Claude-André Courtin de Crouey, lord of Quatre Fils and Cormeilles-en-Parisis made in 1723, reproduced below. Also presented in a very tight frame, it is interesting for the similarities in the representation of the rifle, and in particular the two metal rivets that are almost identical in our painting. The painting that seems closest to ours is the presumed portrait of Monsieur...

'The Chess Match', oil on cardstock paper, by Raymond Debiève (1973). Rich colours, bold, painterly brush strokes and an unusual subject for a work of art, Debiève has created this s...

The Artists Model Nude Lady Model French School, circa 1970's indistinctly signed oil painting on card, unframed size: 18 x 25.5 inches condition: overall very good, a very few light...

After the Hunt Jan Josef Horemans the Younger Antwerp 1714 – 1790 Flemish School Signature: Attributed to Jan Josef the Younger Horemans Medium: Oil on canvas Dimensions: Size incl...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book...

'Seated Woman', oil on board, by François Diana (circa 1970s). This work of sumptuous colour and sensuous subject matter elicits an immediate response. ...

The Artists Model Nude Lady Model French School, circa 1970's oil painting on card, unframed double sided size: 18 x 25 inches condition: overall very good, a very few light markings...

Portrait of a young lady. wearing an ivory silk gown with gold brocade trim and a blue silk cloak, painted c. 1747. Circle of Thomas Hudson (1701-1779). Oval oil on canvas laid on to board in a giltwood frame. Provenance: Frost & Reed Ltd, June 1958 Private collection, Somerset UK The beautifully painted silk gown worn by the sitter bears the characteristics of the talented drapery painter Joseph Van Aken (c.1699-1749). Artists such as Thomas Hudson, Allan Ramsay, Henry Pickering, George Knapton and Joseph Highmore all used Aken’s exceptional talents in painting the silk clothes...

Workshop/Circle of François de Troy (Toulouse 1645 – Paris 1730) Portrait of a young lady (probably Marianne de Cogny, epouse de Philippe-Emmanuel de Beaufort...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

Portrait Of A lady Identified As Frances Thomasine, Countess Talbot, Wife of the 2nd Earl Talbot (1778–1819) attributed to SIR WILLIAM BEECHEY (BRITISH 1753-1839) Large early 19th Century Portrait of a lady identified as Frances Thomasine, Countess Talbot, oil on canvas attributed to Sir William Beechey. Magnificent large three quarter length seated interior portrait of the lady wearing one glove, her hair up and an empire line dress...

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...

'Portrait of Woman in Yellow', oil on cardstock paper (circa 1970s), by Raymond Debiève. A cubist portrait of this lovely young woman at her window is ...

Gustavo Úbeda (1930-1994) - Surrealist scene, Brazil - Oil on panel Oil measures 61x91 cm. Frameless. The painting by Gustavo Úbeda Romero (Herencia, 1930 – Sao Paulo, 1994) comes from a family of painters by aesthetics and by kinship. Brother of the painter Agustín Úbeda and the photographer Ángel...

Peters was born in Freshwater, Isle of Wight, the son of Matthew Peters (born at Belfast, 1711), a civil engineer and member of the Royal Dublin Society; by Elizabeth, the eldest daughter of George Younge of Dublin. The family moved from England to Dublin when Peters was young, where his father "advised on the improvement of loughs and rivers for navigation" and published two treatises on the subject. Peters received his artistic training from Robert West in Dublin; in 1756 and 1758 he received prizes from the first School of Design in Dublin. In 1759, he was sent by the Dublin Society to London to become a student of Thomas Hudson and won a premium from the Society of Arts. The group also paid for him to travel to Italy to study art from 1761 to 1765. On 23 September 1762 he was elected to the Accademia del Disegno in Florence. Peters returned to England in 1765 and exhibited works at the Society of Artists from 1766 to 1769. Beginning in 1769, Peters exhibited works at the Royal Academy. In 1771 he was elected an associate and in 1777 an academician. He returned to Italy in 1771 and stayed until 1775. He also probably traveled to Paris in 1783–84, where he met Léopold Boilly, Antoine Vestier, and was influenced by the work of Jean-Baptiste Greuze. On 27 February 1769, Peters became a freemason, and he was made the grand portrait painter of the Freemasons and the first provincial grand master of Lincolnshire in 1792. In 1785, he exhibited portraits of the Duke of Manchester...

Christian Schildbach was a very talented artist with his own style. Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...

On the cardboard applied on the frame there is an annotation, belonging to some of the old owners, reporting the names of the portrayed in Kurrent handwriting: "Urgroßvater Ludwig Fr(ei)h(e)r(r) von Keller" "Urgroßmutter Fr(ei)h(e)r(rin) von Keller geb(oren) von Niebecker". So we can deduce that the models were Ludwig Friedrich Heinrich Ferdinand Baron of Keller (1760-1835), a German politician who was the director of the district of Prussia, and his wife Auguste Johanne Henriette Baroness of Niebecker (1760-1832). Their high class provenience is highlighted by the not contained expressive liveliness, by the proud pose imitating movement and by the elegance of the clothes which fabric seems palpable (especially sincere is the evanescent depiction of the pleated veil of the gorget and the adorned with arabesques decoration of the sleeves and the vest). The two pieces can be attributed to John Singleton Copley...

Up for sale is an unusual unique antique 18-century original oil painting on board depicting a figure of a gentleman wearing a white wig and dressed in a red jacket and white jabot, typical of the period. His face is almost comical in its expression and exaggerated features. Possibly part of a larger composition. Attributed to THOMAS PATCH...

'Mother and Child II', watercolour on fine art paper (1970), by Raymond Debiève. In a clear nod to Picasso's influence both stylistically and in terms of subject matter (Picasso pain...

Artist/ School: French School, 18th century Title: Mary and Jesus Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Provenance: private collection...

Portrait Of Gilbert Talbot 7th Earl of Shrewsbury (1552-1616), 16th Century Circle of George Gower (c.1540–1596) Huge 16th Century Portrait Of Gil...

Christian Schildbach was a very talented artist with his own style. Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...

"Woman with Earrings" is an oil on board portrait painting by Philadelphia born Expressionist painter Bernard Harmon of an elegantly dressed woman sitting on a chair. This work features a second environmental portrait on verso. The painting is 40" x 34" in size and is signed "Harmon" on verso. Figurative expressionism in the style of Alice Neel. Provenance: Estate of the Artist; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke...

ABOUT THE SUBJECT: In this 18th Century portrait Katherine Read has portrayed Daniel Giles as a child sitting on a rug playing with his drum and his hat beside him. The detail of the ornaments such as the patterned carpet, the folds of the curtain and the child's velvet clothing...

French Art Rococo Portrait of a Woman, Young Lady, perhaps an actress

"Jennifer", portrait of a woman with long brown hair and a blue dress with bouquet of flowers in a green vase, vintage 1970s original painting by Marcel Ronay...

Work on wood Empire plaster frame and gilded wood 42 x 36.5 x 6 cm

Late 17th/early 18th century portrait of a boy. This portrait is in the manner of Sir Godfrey Kneller, however it lacks a signature and documentation. It would not look out of place in an English country house. The Portrait is of a young English boy...

Oil Painting Pair circle of by George Romney "Portraits of a Lady and Gentleman" 1734 - 1802 Romney was a leadway society portrait painter of the Georgian ear...

Josep Moscardó (1953) - Self-portrait with a woman - Oil on canvas Oil measures 92x73 cm. Frameless Barcelona, 1953 Painter, sculptor and draftsman of ...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

Emilio Greco (Italian, 1913-1995) Roma, 1972 Oil on canvas 45 1/2 x 28 3/4 in. Signed and inscribed lower left: Emilio Greco, Roma, 1972 Emilio Greco, (born Oct. 11, 1913, Catania, Italy—died April 5, 1995, Rome), Italian sculptor of bronze and marble figurative works, primarily female nudes and portraits. At the age of 13, Greco was apprenticed to a stonemason, and he later studied at the Academy of Art in Palermo. Though he began exhibiting in Rome in 1943, he was not well-established until after World War II. His first solo exhibition was held in 1946, and in 1948 he became a teaching assistant at the Artistic Secondary School in Rome. His subject matter varied little throughout his career. In their refined, elongated forms and assertive balance, his sculpted figures...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise 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 gallery in Riva del Garda...

Engraved from an Original Painting by Mr. Wootton by John Jones (c.1755-1797). Inscription to the lower edge reads at the Coffee Room, Newmarket: Also at all the Principal Towns in E...

Master portrait artist and illustration legend Bob Peak captures the likeness, dignity and essence of Saudi Arabia's King Faisal for Time Magazine Cover ...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

The Dead Canary, 18th Century circle of Jean-Baptiste Greuze (1725-1805) 18th Century French School portrait of a girl and her dead canary, oil on canvas. Beautiful oval study of t...

This charming 17th Century half length portrait by Charles Jervas is believed to be of Henrietta Pelham–Holes, Duchess of Newcastle. The sitter is wearing a blue silk gown. Circa 1700 Oil on Canvas 27 x 19 1/2 inches 68.5 x 49.5 cm In a fine gilded carved wood frame. ABOUT THE SUBJECT: The sitter of svelte poise depicts grace and style. Stylistically taking the fancy of the moment with clearness and brilliancy in his flesh tints. Jervas work follows the English eighteen century tradition of portrait painting, epitomized by the likes of Kneller and Dahl. Henrietta "Harriet" Pelham-Holles, Duchess of Newcastle upon Tyne, was the wife of British statesman and prime minister Thomas Pelham-Holles, 1st Duke of Newcastle. She was the daughter of Francis Godolphin, 2nd Earl of Godolphin, and Henrietta Churchill, 2nd Duchess of Marlborough. She was also the granddaughter of Sidney Godolphin, 1st Earl of Godolphin, as well as John Churchill, 1st Duke of Marlborough, and Sarah Churchill...

Wife portrait. Oil on cardboard, 110,5x72,5 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at studies to R.Suta, J. Bine and...

Antique American abstract cubist composition "Terra Firma Theme 10" by Augustus Goertz (Born 1948) . Oil on canvas, circa 1958. Housed in a period gilt...

Acrylic on Masonite board, signed and dated (lower middle), 70cm x 70cm (91cm x 91cm framed). Price on request This work depicts Alan and his dog, Bella, on Michael Leonard’s balcon...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; ...

Bust Portrait of a wigged man in a Brown Coat Circle of Gilbert Stuart (1755 - 1828) Irish oil on canvas, unframed size: 30 x 25 inches condition: ver...

English School, 18th/ 19th century Portrait of Sir Wolstan Dixie, 4th Baronet *see notes below on sitter oil painting on canvas, unframed 50 x 40 inches condition: the painting is in very satisfactory condition without any damage, tears or punctures to the canvas. It is very original and would benefit from a clean ideally, slight scuffing to the edges of canvas. provenance: private collection, Leicestershire, England * The sitter is Sir Wolstan Dixie (4th Baronet, born 1700). Although the family came from a yeoman family of Huntingdonshire, his ancestor, also Sir Wolstan, made a fortune in the City as a merchant, and served as Lord Mayor of London in 1585-6, Sir Wolstan (the 1st Baronet) acquired the manor of Market Bosworth in west Leicestershire and in 1592, having no children...

Joan Camo Sentis (1920-2021) - Period Characters - Oil on canvas Canvas measures 46x38 cm. Frameless. Joan Camo Sentis (1920 - 2001) Catalan painter specialized in oil painting on c...

"As the incarnate of dawn shines in the morning, such a blushed Diane's complexion exposed without veils to the eyes of a mortal" Les Métamorphoses by Ovide Less tragic is our destin...

Artist/ School: French School, 18th century Title: The Garden of Gethsemane Medium: oil painting on wooden panel, unframed. painting: measurem...

Signed 'BDandridge/ pinxit' lower left Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by With Lane Fine Art, UK, where purchased by the present owners in 1996 Literature 'Poundisford Park, Somerset' in Country Life, 22 December 1934, ill. A.W. and C.M. Vivian-Neal, Poundisford Park, Somerset: A catalogue of pictures and furniture, Taunton 1939, cat. nos. 11 and 13 This is a portrait of Ann Austen, nee Grey, three-quarter-length seated in a landscape with her dog. Painted in a superb white satin dress, she holds horn spectacles and a spectacle case...

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...