Achille Leonardi

"Mary Magdalene," Antique Italian Grand Tour Oil on Canvas Circa 1840 Guido Reni

circa 1840

Antique English oil on canvas portrait painting, circa 1900. A very handsome Impressionist portrait of a youthful lady in Edwardian dress. Oil on canvas, signed to the upper left "F ...

A Large & Important Italian Renaissance oil on canvas, an allegorical scene attributed to the Flemish/Italian artist Jan Van Der Straet (b...

19th century French Barbizon School Painting, oil on canvas signed "Marin", Circa 1840. A very attractive bucolic, pastoral landsacpe scene with sheep grazing on the banks of a lake ...

An important Italian Baroque oil on canvas painting of the Madonna, attributed to the Roman old master Carlo Maratta (1625-1713), the painting circa 1...

Oil Painting of Malibu by California Impressionist Daphne Huntington (1910-2012). The painting depicting the Pacific ocean waves crashing over the rocks at Malibu. The painting is in very good condition. Sisters Venetia Epler and Daphne Huntington were California artists whose work is represented in several permanent collections: the San Bernadino County Museum, the De Saisset Gallery, the Santa Clara Museum, the Mary Pickford Collection and the Richard Nixon Library. Venetia and Daphne have both been included in Who’s Who in American Art, Who’s Who in California and Who’s Who in the West. Both are Fellows of the American Artists Professional League, and the American Institute of Fine Arts. Daphne was a member of the National League of American Pen Women, Artists of the Southwest, the San Gabriel Fine Arts Association and the California Fine Arts Club, for which she was Vice President in 1967. Venetia and Daphne studied painting at Slades in London, stained glass at the London School of Arts and Crafts, and the École de Louvre in Paris. The sisters’ most extraordinary achievements are two huge oil on canvas pieces that were re-created in tesserae by Italian master mosaicists. Both mammoth mosaics were titled “The Life of Christ.” The most recent “Life of Christ’ was dedicated in 1993 and is the façade of the mausoleum at Woodlawn Memorial Park in Orlando, Florida. The first, and completely different “Life of Christ” mural was completed in 1972, and to this day serves as the Western Hemisphere's largest religious mosaic...

Antique American Oil on Canvas by Charles Holloway (American, 1859-1941), Circa 1915. The painting depicting a South American landscape scene, to t...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would ...

Possibly painted by the young Jusepe de Ribera c. 1620-30 A Holy Monstrance Surrounded by Putti We would like to thank Mr David M. Stone and Nicola Spinosa for examining the paint...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

Portrait Of Queen Mary of Scots (1542-1587), 18th Century English School Huge 18th century English School portrait of Queen Mary Of Scots, oil on ca...

‘Le Femme en Noir’ by Eugène Accard (1824-1888). This fine 19th century French full-length portrait of a young Parisienne beauty is signed by the arti...

Portrait of Hélène Ferrand, Marquise de Saint Germain Beaupré c.1675 Studio of Pierre Mignard (1612-1695) Presented by Titan Fine Art, this sublime ...

‘L’Extase’ by Charles Joshua Chaplin (1825-1891). The painting - which depicts a young Parisienne society beauty captured en déshabillé - is inscribed by the artist verso and sold in a superb quality bespoke gold metal leaf neoclassical frame. As one of his most popular paintings...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

A vintage king size oak tester or four poster bed in the Renaissance style. Hand carved with Adam & Eve carvings in the headboard, figurative sculptures in the bedposts, three carved armorials on the pelmet rail and an armorial tapestry and velvet bedspread...

This resplendent painting follows in the tradition of royal portraits and was designed to convey an image of courtly majesty. Titan Fine Art presents this portrait in which the sitter wears a black gown, a white reticella ruff and matching wrist ruffs, and the typically Spanish long-hanging loose sleeves, under which are undersleeves trimmed with gold and silver. The one-piece gown is decorated with different textiles and different shades of black. In addition to the costly materials there is a fortune in jewellery displayed, most remarkable is the huge gold, ruby, and pearl pendant in the form of two cherubs supporting a crown, and the heavy four-layered golden chain necklace. The expensive attire proclaims to every onlooker that this is a superior being. This stately and formal portrait had become a standard format for aristocratic portraiture in late 16th-century Europe. The Venetian flag fan (in Italian: ventarola) in her hand was probably manufactured in Venice where the carrying of flag fans was especially prevalent throughout the fifteenth and sixteenth centuries before they gave way to the modern type of folding fan. Even though their use spread throughout Italy they never, it is thought obtained any great vogue outside of Italy. The example in our portrait is cut with fine lace and it served a practical purpose – the 'flag' spun around the handle creating a breeze – but also signified the elite status and refined taste of its possessor. The English Elizabethan and early Jacobean traveller and writer Thomas Coryat (also Coryate) (c.1577-1617) wrote during his visit in 1608: "The first fannes that I saw in Italy did I observe in this space betwixt Pizzighettone and Cremons. But afterward I observed them common in most places of Italy where I travelled. These fannes both men and women of the country do carry to cool themselves withall in the time of heat, by the often fanning of their faces. They were used every day and discarded when old, worn out, or soiled. Most of them are very elegant and pretty things." Thus, this painting is a rare and early portrayal of this accessory. The painting is also notable for its state of preservation having not undergone a lining process (laid onto a newer canvas for support) and as such it is extremely rare for a painting of this age. Held in a good quality antique ebonised frame. Frans Pourbus...

Signed indistinctly, lower right: Musfcher f. Provenance: Private Collection, London (according to a label on the reverse) with Newhouse Galleries, New York, as Caspar Netscher with Galerie N. Karger, Caracas, Venezuela, as Caspar Netscher Acquired by the grandmother of the previous owner, and by descent; offered Christie’s, New York, 26 October 2016, lot 144, as Caspar Netscher (withdrawn) Private Collection, Pennsylvania Michiel van Musscher...

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...

Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...

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

Signed and dated, lower left: Par M. T./ Philiberte Montpetit/ 1794 Inscribed on the reverse of the stretcher: Mademoiselle Lange, de la Comédie Française...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...