Portrait Paintings

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...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inches x...

Photorealistic oil on canvas depiction of a divine, royal, beauty surrounded by her equally magnificent peacocks.

Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666) Saint Mark the Evangelist Oil on canvas - 85 x 71 cm., Framed 100 x 86 cm. Of great cha...

School of Antonio Allegri, known as Correggio (Correggio c. 1489 - 1534) Attributable to Pomponio Allegri (Correggio, 1522 - Parma, 1593) Madonna and Child, Two Angels and John the B...

18th century French Rococo portrait of a young noble lady This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...

Spanish School (16th century) Saint Fermin of Pamplona oil on canvas 40.1/8 x 32.½ in. (102 x 82.5 cm.) Condition: oil on canvas re-lined. Extensive surface dirt and varnish discolouration, craquelure throughout, possible stretcher bar marks. Probable retouches in a 17th century wood frame with painted decoration to corners and central spans. The frame has abrasions and knocks but suits the painting well. There is some shrinkage to some of the paint on the frame. Following some detailed research, we are confident this is a portrait of San Fermin...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

Samurai - Maximilian Ciccone - Italia - Oil on canvas cm.210x120- In this majestic oil on canvas painting the Artist Ciccone portrays a samurai, exhibiting the Japanese warrior cast...

Artist/ School: 17th Century Dutch School Title: Ladies Collecting Flowers Medium: oil painting on panel, framed Oval : 6.75 x 9.25 inches, frame...

Exhibited at the 'HUMAN RIGTS' convention, Rovereto, Trendo, Italia. This oil painting combines concepts to create a hyperrealistic and surreal image of hope.

Dear clients, Thank you so much for your interest to the art of Maestro Marina Dobrovolskaya. The artist Marina Dobrovolskaya has escaped the war in Ukraine and she is safe with her family in Bulgaria, in the historic city of Bansko, where she continues to create her incredible ART. Unfortunately, she had to leave all her artworks and her native town Kharkiv in Ukraine. We wish you well and in the meantime we hope you will enjoy our artworks in a digital way! Kindly yours, Snow Pearl art gallery Milko Pamouktchiev Owner "Stolen childhood" is a portrait painting on canvas by Maestro Marina Dobrovolskaya for the terrible impact on the children caused by the war. The painting is unframed. Frame: Optional Snow Pearl gallery offers the possibility to increase the value of this artwork by adding a gorgeous wooden Italian contemporary frame of your choice. We can also offer a very special ancient restored frame. The frame can be hand-carved with composition ornamentation and hand-applied, with water gilded with 22 Kt. genuine gold leaf over rouge burnishing bole and then patinated to the appropriate patina. This will slightly increase the price, the shipping cost and the delivery time. The paintings bring emotion of happiness, love, energy and beauty represented by the vast creative power of her talent.” Dear art lovers, if you like the art of maestro Dobrovolskaya, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. “The impressions of Marina's paintings on the viewer is so mighty, mesmerizing, grand, that it paralyzes the imagination and leaves no option. Her paintings bring emotion of happiness, love, energy and beauty represented by the vast creative power of her talent.” Maestro Dobrovolskaya Marina Evgenievna was born in 1986, in Kharkov. In 2009, she graduated from the GS faculty of the Kharkov National Academy of Municipal Economy with a degree in architecture. Member of the Kharkov Organization of the National Union of Artists of Ukraine (graphics section) since 2018. She took part in course for design and decoration. She practices techniques of decoupage, craquelure, painting on glass, modeling of polymer clay, drawing up fabric and floristic panels, felting. She is master in technique of sand animation. It works both in online animation and in the creation of original paintings made with sand on glass. She took part with sand animation in the annual charity evening held in London. Participant of numerous All-Ukrainian exhibitions and international open-airs. In 2010, she taught sand animation at the Beitdan Jewish Center (Kharkov). In 2013, she took part in a drawing course at the Family Art Club Family Development Center, in 2014 she worked in a ceramic workshop (Kiev). The peculiarity of the artist is in her individual manner of execution: Maestro Dobrovolskaya works with mixed technique of watercolors and pastels, which gives the work a feeling of hyper-realism. Portraits occupy a special place in her work, in which great attention is paid to detailing in order to convey the character of a person. In the technique of pencil graphics, as well as mixed (pencil with a liner), the artist depicts the city landscape - one of her favorite subjects, which is due to her training at the Department of Architecture and Urban Planning, under the guidance of remarkable teachers: N.I. Krivoruchko, V.P. Manokhin, V.A. Kodina, L.O. Bogdanova and others. List of exhibitions: 2016 -2017 Allukrainian artist vistavka “Rіzdvyana” (Kyiv) 2016-2017 The All Ukrainian painting...

Commodo - Maximilian Ciccone - Italia - Oil on canvas, portrait of Roman Emperor Commodo.Mis. cm. 210x120-

One of those pieces you could stare at all day long. Part of Fotiadou's 'Eternity' series, this painting was exhibited in the solo exhibition in Athens. Sofia is an exceptional Greek...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right. Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

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

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

"Saint Joseph and the Christ Child" Manner of Guido Reni (1575-1642) Italian. Oil on Copper, Unframed painting: 9.35 x 7.25 inches Condition ...

This exquisite portrait, presented by Titan Fine Art, belongs to a type of portrait known as ‘Les Belle Romanes’. Voet is perhaps best remembered for his series of them – a great set of portraits...

(early 19th century) English School Portrait of a Young Gentleman, with Riding Crop and Dog The reverse stamped T Brown, High Holborn, Linen, oil on canvas, The size overall being 104 cm x 84 cm whilst the painting is 89cm x 70cm A charming portrait in overall very good condition housed in a gilt frame The painting has been cleaned recently . There is some old restoration in the form of a small patch to the rear,barely visible to the front. some texturization to top right in certain light Certainly does not detract from this charming painting SHIPPING Free uk delivery Delivery usually within 14 working days.Fully insured delivery. please provide telephone/email details for courier. We ship worldwide for free. All taxes/customs etc to be paid for by purchaser. RETURNS (The Consumer Contracts Regulations) Whilst we are sure that you will be extremely happy with your purchase, if for any reason you are not, then you are entitled to return the item to us for a refund. For all purchases made you are entitled to return the item(s) for a period of up to 14 days following receipt by you or a representative indicated by you. Please contact us to confirm that you are returning the item(s) and the reason for doing so. Upon receipt of the item(s) we will refund the purchase price via your original payment method...

Evangelista Schiano (attr.) (active in the 18th century) Saint Gennaro Oil on canvas, cm. 102 x 74 - with frame 126,5 x 100 cm. 19th century carved, sculpted and gilded wooden frame ...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

Studio of Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches...

Circle of Michael Dahl Swedish, (1659-1743) Portrait of a Lady Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inches A fine half-length portra...

Portrait of Lila, oil on canvas 47 3/4 in x 31 in 2015

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Pauwels Franck, known as Paolo Fiammingo (Antwerp, 1540 - Venice, 1596) Venus lying in a landscape Oil on canvas 116 x 150 cm. In antique frame 136 x 170 cm. The work is accompanied by a critical card by Dr. Federica Spadotto The splendid painting proposed sees portrayed, bare and stretched out on a red brocade cloth in gold sprinkled with roses, a refined and sensual Venus, in a composition with a profound symbolic value, and arriving at the perfect representation of the Renaissance woman who, like Venus, becomes an allegory love, eros, beauty and fertility. The canvas is part of the prestigious Venetian artistic and cultural environment of the second half of the sixteenth century, whose distinctive distinctive trait can be traced back to its cosmopolitan vocation. This characteristic, as Dr. Spadotto noted in her in-depth study, belongs to the same physiology of the Venetian capital, that is, being a distinctly commercial city located in a strategic point with respect to trade. Representing one of the liveliest ports in the Mediterranean also meant witnessing the continuous passage not only of goods, but of men, ideas, suggestions from distant countries, which influenced not only the taste of their people, but above all art. This happened thanks to the circulation of prints, as well as pictorial specimens, to which are added the stays of great foreign artists and, above all, the permanence in the capital of a non-negligible number of Dutch, Flemish and German masters. An emblematic case in this regard comes from Pauwels Franck (Antwerp, 1540 - Venice, 1596), better known as Paolo Fiammingo, who established himself in his native city at a young age - in 1561 a figure enrolled in the Guild of San Luca - and arrived in Venice in 1573. . He resided in Venice from 1584 until his death, although the stylistic and formal references of some of his works have led critics to believe that in previous years he had undertaken a journey to central Italy, or to Florence and Rome, where he would have metabolized the lively cultural debate that permeated these cities and which, on the other hand, seemed completely absent in Venice. Here Paolo will be fascinated by the sense of color and by the atmospheric component fixed on the canvas by Jacopo Tintoretto (Venice 1518 - 1594), of which he becomes a collaborator, to undergo, around 1590, the suggestion of Paolo Caliari...

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

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

A breathtaking oil painting by Israeli Born-New York based artist Yigal Ozeri. This hyperrealist portrait of a young girl staring back at her viewer, is a classic example of the arti...

Venetian school of the end of the 16th century Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544 - 1628) Saint Jerome Penitent Oil painting on canvas 85 x 64 cm. - In frame 97 x 76 cm. This splendid painting, which offers us an intense representation of San Girolamo...

Late Gothic, German (15th century) Painter of the Cologne school, circle of Stephan Lochner (Meersburg, around 1400 - Cologne 1451) Panel (compartment of a polyptych) with gold backg...

Nicolò Zafuri (circle of) (documented in Candia between 1487 and 1500, died before 10 July 1501) Madonna with Child oil on panel, cm. 49 x 40 This precious panel depicting the Mado...

CHILD -Watercolorl on paper cm.51x41 signed lower left by Alfonso Grassi, Italy. Wooden frame with passeportout cm.94x73

Fine 19th Century Oil on Canvas Portrait of a Young Woman in large gilt gesso frame Identity of the sitter as yet unknown. The artist has managed to capture her ethereal beauty perfe...

Giovan Battista Beinaschi (Fossano, 1636 - Naples 1688) Saint Bartholomew Oil on canvas, cm. 96 x 71,5 – with frame cm. 108 x 86 Shaped and gilded ...

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

19th century portrait, child at play ,Attributed to Henry Tanworth Wells A beautiful oval portrait of a young child at play, attributed to the portrait painter Henry Tanworth Wells. finely executed, this oil on canvas is in excellent condition. Housed in a period frame. The size overall is 79 cm x 62 cm whilst the painting is 56 cm x 46 cm Henry Tanworth Wells [1828-1903] Henry Tanworth Wells RA was an English miniature and portrait painter. He was a member of the Pre-Raphaelite circle though he painted in the academic style. His most popular painting...

Circle of Robert Byng British, (1666-1720) Girl with Orange Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inc...

Portrait of a bay horse with army officer seated on a drinking trough, signed with monogram and and dated 81', inscribed verso 'by W E Milner, Gainsborough', oil on canvas. The size overall being 44 x 57 cm (17.5 x 22.5 inches) whilst the image is 35 x 48 cm ( 19 14 inches ) In very good condition housed in a gilt frame. William Edward Millner...

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

Erasmus Quellinus II (Antwerp 1607 - 1672) Vanitas (as an Allegory of the Vanity of Life or of Youth) Oil painting on canvas - cm. 121 x 84, in the frame cm. 135 x 98 The work is accompanied by an in-depth study written by prof Emilio Negro, from which we present some extracts. The theme of the painting that we propose is a singular and rare "Vanitas", a subject of strong moral value which, in the pictorial field, refers to a composition with symbolic elements alluding to the theme of the transience of life, and therefore intent on soliciting the viewer to meditation on the transience of human destiny and on the fragility of worldly pleasures. These subjects, which had particular success in the Flemish context, are works of great charm, interesting to study and often difficult to decipher; protagonist of our canvas we see a capricious little love, sitting on a sarcophagus, a sort of pictorial anthropomorphic Carpe Diem (seize the fleeting moment), who invites you to meditate on the transience of life and to enjoy the moments of happiness it grants; this regardless of the alternating fortunes of fate, symbolized by the putto's foot trampling the gold coins, the precious fabric, the scepter, the ermine stole, the skull, the hunting horn and the books. Next to him is a still life of multicolored flowers, collected in a crystal vase, whose presence takes on a clear allegorical meaning, since they constitute the metaphor of the transience of youthful beauty which, like fresh flowers, is destined to wither. . Particularly noteworthy is the stone sepulcher on which the sweetheart sits, on which stands the acronym "DMS", to be dissolved in the Latin phrase "Diis Manibus Sacrum", that is to the sacred gods of hands, corresponding to the invocation carved on the tombstones. of the last paganism, addressed to the spirits of the deified ancestors. Another very interesting detail is the white sheet that emerges from the pages of the voluminous closed psalter, in which the Latin phrase is traced in beautiful seventeenth-century calligraphy: "Defecerunt sicut fumus dies / mei Psal J.97" to translate: "my days almost smoke they have vanished "(Psalter, Psalm 1. 97), equivalent to another exhortation to reflect on the short duration of existence. With regard to the pictorial origin of the composition in question, it should be noted first of all that it is an interesting replica, with some modifications, of a four-handed work by Erasmus Quellinus the Younger (the figure of the putto) and Daniel Seghers (the still life). Of the same composition is also known a version entitled 'Allegory of the passage of Youth', passed by Sotheby's in Amsterdam as Cornelis Schut...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Oil on canvas, cm. 65,5 x 51,5...

Cristoforo Serra (Cesena 1600 - Cesena 1689) Portrait of a Shepherd Oil on canvas, cm. 92 x 75 - with frame cm. 106,5 x 94,5 Antique giltwood cassetta frame, carved and sculpted Pu...

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

Mia Bergeron's (US based) "Arrival" is an original, handmade oil painting that depicts a feminine face, with dark hair, arching back as she looks upwards in the darkness Mia Bergero...

English School 17th Century Portrait of Thomas Cromwell 1st Earl of Essex Oil on canvas Image size: 24 x 20 inches Giltwood decorated frame PROVENANC...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

Giovanni Stefano Danedi, called Montalto (Treviglio 1612 - Milan 1690) Madonna and Child crowned by angels Oil on panel, 58x36 cm without frame - 83x61 cm with frame 19th century sha...

Cesare Gennari (Cento, 1637 - Bologna, 1688) Rinaldo holds back his beloved Armida Oil on canvas - 119 x 164 cm. - In frame 141 x 189 cm. The work is accompanied by a critical study written by prof. Emilio Negro (Bologna) This valuable work can be ascribed to the production of Cesare Gennari (Cento, 1637 - Bologna, 1688), and depicts the episode of the last canto of the heroic poem the 'Gerusalemme Liberata' by Torquato Tasso, which features the two famous lovers...

A late 18th early 19th century oil on canvas Portrait of Prime Minister Spencer Perceval, bust-length, in an interior, holding papers.Attributed to George Francis Joseph...

"Ghost" is a photoreal portrait of a white horse in his dark barn in the South of France. The equine painting stuns the viewer with the drama o...

Antonio Mercurio Amorosi (Comunanza 1660 - 1738) Portrait of a little girl with cat Oil on canvas, cm. 42 x 31.5 – with frame cm. 56 x 44 Shaped, carved and gilded wooden cassetta fr...

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

Artist/ School: French School, 19th century Title: The Soldiers Camp Medium: oil painting on thick wooden panel, with a bevel edge Size: painting: 12.5 x 22 inches, frame: 16.5 ...

The Pearl Lady, most probably Elisabeth of Bohem, Princess Palatine. Oil on board signed Honthorst, dated 1644 Within a beautiful tortoise shell With a certificate by René Millet ( Well Known French Expert in Paris) The young unknown portrait shows the talent of the artist. We will appreciate the quality of glazed face, the light in the beads and the psychological analysis of the model. We almost read the character of the model. This type of face is found throughout the valley of the Rhin, Switzerland, the Netherlands. Our beauty is flirtatious and love beautiful pearls, symbol of fidelity. And so the large barocco pearl, the earrings, the necklace, the adornment in her hair; all attest of the prosperity. Gerrit Van Honthorst was born in 1590 and died 1656. His career is divided into two very different parts. In the first part of his life he is The “Night Master”, "Cavaragesque" painter, that the Italian nicknamed GUERARDO OF THE NOTTE. This period mainly Roman, which will influence LA TOUR and REMBRAND overshadowed the rest of his work. Indeed, it has been forgotten today; but when GUERARDO DE LA NOTTE returned to Utrecht, he became a fashionable portrait's painter. Radical changes without knowing the real reasons although it is often forgotten that a painter like everyone needs to survive ... Especially since the death of Van Dyck has opened the road to our artist who will rush into exploiting it. He is called to the court of Charles I, in London, where he will paint the king and the nobles of the court. In 1637, he moved to The Hague and become Van Dyck's official successor for the Netherlands and all Europe. Gerrit van Honthorst’s night paintings caused such a sensation in Rome that he was known as Gherardo delle Notti...