Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 11

Giosuè Scotti
Portrait of an artist

Circa 1771

More From This SellerView All
  • Identity Portrait No 1
    By Edi Dominique Dubien
    Located in Paris, FR
    Impressive, powerful and psychological big size painting on wood, silver collage, oil painting base, signed by the artist. Contemporary French Art....
    Category

    Early 2000s Contemporary Portrait Paintings

    Materials

    Wood, Oil

  • La Grande Parade
    By Jérome Romain
    Located in Paris, FR
    Jerome Romain lives and works in Montpelier, France He defines his painting as Classic Painting for Contemporary History " The world as a representation " His oil on canvas painting...
    Category

    2010s Photorealist Figurative Paintings

    Materials

    Canvas, Oil

  • Hallow Taxi
    By Jérome Romain
    Located in Paris, FR
    Jerome Romain lives and works in Montpelier, France He defines his painting as Classic Painting for Contemporary History " The world as a representation " His oil on canvas painting...
    Category

    2010s Photorealist Figurative Paintings

    Materials

    Canvas, Oil

  • Homme allongé
    By Jérome Romain
    Located in Paris, FR
    France, 2013 Oil Paint- Lying man Homme allongé
    Category

    2010s Contemporary Figurative Paintings

    Materials

    Canvas, Oil

  • Apéro Bière
    By Jérome Romain
    Located in Paris, FR
    Oil on Canvas Apero bière 50 cm x 73 cm France, 2016.
    Category

    2010s Contemporary Figurative Paintings

    Materials

    Canvas, Oil

  • Se faire les ongles
    By Jérome Romain
    Located in Paris, FR
    Jerome Romain lives in Montpelier, France Classic Painting for Contemporary History He defines his painting as " The world as a representation " His oil on canvas paintings are born ...
    Category

    2010s Photorealist Figurative Paintings

    Materials

    Canvas, Oil

You May Also Like
  • Man in Tavern Smoking a Pipe /// Old Masters Dutch David Teniers Portrait Face
    By David Teniers the Younger
    Located in Saint Augustine, FL
    Artist: Unknown (Circle of David Teniers the Younger, Flemish, 1610-1690) Title: "Man in Tavern Smoking a Pipe" *No signature found Circa: 1690 Medium: Original Oil Painting on Wooden Board Framing: Framed in an antique gold gesso frame...
    Category

    1690s Old Masters Portrait Paintings

    Materials

    Gold Leaf

  • Portrait Gentleman Black Slashed Doublet & Orange Sash Dutch Oil on Panel c.1650
    By Bartholomeus van der Helst
    Located in London, GB
    This exquisite portrait of a gentleman depicted in a sumptuous black doublet edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...
    Category

    17th Century Old Masters Portrait Paintings

    Materials

    Wood Panel, Oil

  • Two royal portraits (the Duc d'Angoulême and the Duc de Berry) by H.P. Danloux
    Located in PARIS, FR
    These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...
    Category

    1790s Old Masters Portrait Paintings

    Materials

    Canvas, Oil, Wood Panel

  • The Veronica of the Virgin (Verónica de la Virgen)
    Located in New York, NY
    The panel has been attributed both to Joan de Joanes and his son Vicente Macip Comes (Valencia, ca. 1555 – 1623). Provenance: Private Collection, England, by 1886 (according to stencils on the reverse) Private Collection, New Jersey, until 2010 The Veil of Veronica, often called the Sudarium, is one of the most important and well-known relics of Christ. According to legend, Veronica offered Christ her veil as he carried the cross to his crucifixion. He wiped his face with the veil, which left the cloth miraculously imprinted with his image. Depictions of Christ’s face on a veil, or simply images that focused in on Christ’s face, were treasured objects of religious devotion. The popularity of this format also inspired similar images of the face of the Virgin. The iconographic type of the present painting is known as the Veronica of the Virgin, which was especially favored in late medieval and early Renaissance Spain. Distinct from the images of the suffering Christ, the Veronica of the Virgin is based on the legend that Saint Luke painted a portrait of Mary from life. Although scholars have sometimes mistaken them for portraits of Queen Isabella I of Castile (known as Isabel la Católica) or as a depiction of Saint Maria Toribia (known as María de la Cabeza, or, Mary of the Head), paintings like this one were clearly intended as images of the Virgin in the style of Saint Luke’s lost portrait. The Veronica of the Virgin was especially popular in Valencia, and depictions of this subject produced there all stem back to one visual prototype: a Byzantine image in the city’s cathedral (Fig. 1). This early treatment of the Veronica was given to the cathedral in 1437 by Martin the Humane, King of Aragon and Valencia, who promoted religious veneration of the Veronica of the Virgin as part of the celebration of the Immaculate Conception of Mary. This devotion spread throughout Martin’s kingdom and particularly took hold in Valencia, where the Byzantine image resided. The image, which is displayed in a gold reliquary...
    Category

    16th Century Old Masters Paintings

    Materials

    Oil, Wood Panel

  • "Caterina d'Alexandria (Saint Catherine of Alexandria)" classical religious
    By (After) Giampietrino
    Located in Milwaukee, WI
    "Caterina d'Alexandria (Saint Catherine of Alexandria)" is an original oil painting on wood panel, likely painted by Italian artist Giampietrino (Giovanni Pietro Rizzoli). The painti...
    Category

    19th Century Old Masters Portrait Paintings

    Materials

    Oil, Wood Panel

  • Angelic Cherubs with Classical Figure in Wilderness Finely Painted Preparatory
    Located in Cirencester, Gloucestershire
    Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...
    Category

    17th Century Old Masters Figurative Paintings

    Materials

    Oil, Wood Panel

Recently Viewed

View All