Portrait Paintings

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...

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a reinterpretation of the Young Sh...

Painter active in Lombardy, in Milan, in the seventeenth century Circle of Camillo Procaccini (Bologna 1561 - 1629 Milan) St. Matthew and the Angel ...

Youth and wisdom -Ciro De Rosa Italia 2007 - Oil on canvas cm.60x50 Gold leaf gilded wooden frame cm.82x73 available on request The painting by Ciro De Rosa is characterized by light...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

Guido Cagnacci (Romagna, 1601 - Vienna, 1663) workshop / attributable Quality work depicting David with the head of Goliath (or the Triumph of David) oil painting on canvas Dimensio...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

Artist: Varvarov Anatoly Viktorovich Title: Higher than Clouds, Sise: 39.5x47.5 inches, (100x120 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. What's higher than the clouds? This happy...

Artist: Varvarov Anatoly Viktorovich Title: Self Portrait, Sise: 31.5x35.5 inches, (80x90 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. This oil painting is a sel...

Girl with kitten - Giulio Di Sotto Italia 2008 - Oil on canvas cm. 60x50 Frame available on request from our workshop. This painting is Giulio Di Sotto’s personal reinterpretation of the 19th century French painter Jules Frédéric Ballavoine...

Artist: Varvarov Anatoly Viktorovich Title: The era of Joy, Sise: 69x53 inches, (175x135 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. "The era of joy" was a gold...

Artist: Varvarov Anatoly Viktorovich Title: Between the past and the Future, Sise: 33.5x43.5 inches, (90x110 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. "Betwee...

Artist: Varvarov Anatoly Viktorovich Title: Melon Sise: 47x55 inches, (120x140 cm) Medium: Oil on Canvas Hand painted, original, one of a kind, Looking at this oil painting, you ca...

Artist: Varvarov Anatoly Viktorovich Title: Loved Ones, Sise: 33.5x41.5 inches, (85x105 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. Looking at this oil painting...

Giacomo Stella (Brescia 1545 - Rome 1630) Allegory of Wisdom (or prudence) Oil painting on canvas 193 x 75 cm., In frame 199 x 82 cm. The work is accompanied by critical study drawn...

The 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...

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...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery)

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...

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...

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...

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...

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

Artist/ School: British School, late 18th century Title: Portrait of a gentleman wearing a grey jacket, painted within a feigned oval. Medium: oil pa...

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a free interpretation of the paint...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

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...

Emilian Caravaggesque painter of the early seventeenth century Alessandro Tiarini (Bologna, 1577 - 1668), attributable Madonna and Child Early seve...

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...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

Portrait of Sir William Cowper [1639-1706] Circle of Michael Dahl 17th century oval, bust-length, with a long dark wig, and wearing a lace cravat and bro...

Portrait of a very attractive Lady, head-and-shoulders in length monogrammed FD, inscribed to verso, oil on canvas, 50cm x 40cm whilst overall is 59 x 69 cm . In overall good condition some craquelure. Has been relined and cleaned. original frame some minor losses (self coloured) Frank...

Marcantonio Bassetti (Verona 1586-1630) Ritratto di uomo di legge Olio su tela, cm 38x27,5; con cornice cm 59,5x48,5 Le caratteristiche pittoriche della persona ritratta sembrano rin...

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...

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...

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

Giovanni Bernardo Carbone (Genoa, 1616 - 1683), workshop Portrait of a gentleman in armor with battle scene in the background Oil on oval canvas (117 x 105 cm. - In gilded frame 124...

Portrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...

Portrait of a Young Gentleman, Pieter Van Der Dvssen c.1664 Jan van Haensbergen (1642–1705) This charming portrait is an excellent example of late 17th century child portraiture and is from one of the most prolific periods in art history – the Dutch Golden Age. A vast number of artists produced work to fulfil the demands and tastes of a broad Dutch society, and many cities in the Netherlands developed into distinct artistic centres, characterised by style and specialities of subject. The quality of our portrait is similar to the works of the highly specialised ‘fijnschilders’, who were working in Leiden at the time; these artists executed meticulous small-scale paintings. As with the artist’s other works of children, Haensbergen painstakingly recorded many details including a fine depiction of the face, and the surface effects of the materials and the pearl clasps. The young sitter is Walther Bernt Pieter Van der Dussen. He was born into a wealthy noble Catholic family in Delft in 1654. In this portrait he would be around ten years of age, dating the work to circa 1664, which is also the year before the artist’s marriage to Johanna van Heusden. The Van der Dussen family were great patrons of the arts and commissioned a number of major works from eminent artists in Delft & Amsterdam. Van der Dussen died in 1716. The wooded setting, the lamb, and the “picturesque” or “Roman” dress...

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...

Diego Glazer's "Marooned" is an original, handmade oil painting that depicts a person sitting on the shade of a tree in a tropical setting. About the Artist: For as long as I can r...

Pegah Samaie's (CA based) "Cool and Calm" is an original, handmade oil painting that depicts a woman holding a pink ice-cream cone with a pink background....

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...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

Mannerism, derived from the Italian term "maneria," which simply means "style," was an artistic movement that emerged in the later years of the Italian High Renaissance, around 1520, and extended into the early 17th century. It is often referred to as the "stylish style" due to its emphasis on self-conscious artifice rather than realistic depiction. Historians debate whether Mannerism should be classified as a style, a movement, or a period. In contrast to the harmonious ideals embraced by renowned artists such as Raphael, Michelangelo, and Leonardo da Vinci, Mannerist painters took a step further and created compositions that were almost bizarre. They introduced fresh color schemes, elongated proportions, and exaggerated anatomy of figures, portraying them in convoluted and serpentine poses. These artists skillfully exhibited their techniques and abilities, aiming to evoke a sense of sophisticated elegance. Among the notable Mannerist painters are Jacopo da Pontormo, Bronzino, Lavinia Fontana...

Portrait 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...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl 17th century, oval,bust-length . She has dark hair tied high and wearing a b...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

GENGIS KAN - Maximilian Ciccone - Italia - Oil on canvas cm.210x120. In this majestic oil on canvas painting the Artist Ciccone portray the Mongol leader and ruler Genghis Khan...

Portrait of Sir Charles Forbes of Edinglassie, Oil on canvas. The size of the portrait is 75 cm x 59.5 cm whilst overall the size is 106 cm x 91 cm In very good condition.There has been some restoration/overpainting etc.There is some minor craquelure. Housed in a period gilt frame decorated with acorns and leaves Overall a good portrait, circle of a fine scottish artist , with an interesting sitter, his details below. sir Charles Forbes of Edinglassie Sir Charles Forbes, 1st Baronet (1774–1849) was a Scottish politician, of Newe and Edinglassie, Aberdeenshire. Forbes was the son of the Rev. George Forbes of Lochell. He was a descendant of Alexander Forbes of Kinaldie and Pitsligo, and was in 1833 served heir male in general to Alexander Forbes, 3rd lord Forbes of Pitsligo, father of Alexander Forbes, 4th Lord Forbes of Pitsligo, attainted in 1745. Forbes was of a bluff but kindly nature, diffident as to his own merits, of a straightforward and manly character. On the death of his uncle in 1821 Forbes succeeded to the entailed estates of the Forbeses of Newe, and was created a baronet by patent in 1823.[1] He married in 1811. His daughter, Elizabeth, married General, Lord James Hay, second son of the seventh Marquess of Tweeddale. Sir Henry Raeburn FRSE, RA, RSA (1756-1823) Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Circle of Robert Byng British, (1666-1720) Portrait of a Boy Oil on canvas Image size: 28.5 inches x 23.5 inches Size including frame: 34.5 inches x 29.5 inches A fine half-length ...

French school of the eighteenth century Atelier of Jean-Marc Nattier (Paris 1685 - Paris 1776) Portrait of a gentleman in armor Louis XV period - early 18th century Oil painting on canvas, 81 x 65 cm., In frame 97 x 80 cm. The painting examined here, depicting a gentleman in a knight's armor, presumably a noble officer, can be dated to around the beginning of the 18th century and is evidently a work to be referred to the prolific and prestigious Parisian workshop of Jean-Marc Nattier (Paris 1685 - Paris 1776), one of the most significant portrait painters of his time and a great interpreter of the French school, one of the leading portrait painters of the reign of Louis XV. Thanks to his numerous pupils, he produced a large number of splendid portraits, such as the work we are offering you, which fully exhibits the formal and aesthetic elegance required by the master's atelier for the demanding aristocratic clientele. Note the meticulous rendering of the facial features and the sharpness of the contours highlighted by the light, both in the details of the face and in the reflections of the armor, rendered with great skill. Behind our portrayed, presumably to evoke his military exploits or to honor a recent victory, a glimpse of a battlefield is depicted, still in the midst of combat, with the fumes of the cannons that are dispersed in the sky, with the typical colors gray-blue used by Nattier in his works. The pose of our lord is royal, canonical to all officers of rank, following the favorite formula for the portraits of the members of the French aristocracy, presented in half-length to three-quarters and with a proud gaze towards the observer, as illuminated by the glow of his own prestige: in our case he wears the parade armor and is immortalized with the classic hairstyle surrounded by a bow on the back from which a long lock of hair starts. The work is presented in an excellent state of conservation, with a gilded wooden frame. For more information, please contact us. It is also possible to see the painting in our gallery in Riva del Garda...