Gillis Claeissens

Fine Old Master Portrait, by Gillis Claeissens, Portrait of a Lady, 1580, Bruges

circa 1570

Lifesize, large Painting of the Emperor Titus after Titian. The Eleven Caesars was a series of eleven painted half-length portraits of Roman emperors made by Titian in 1536-40 for Federico II, Duke of Mantua. They were among his best-known works, inspired by the Lives of the Caesars by Suetonius. Titian's paintings were originally housed in a new room inside the Palazzo Ducale di Mantova. Bernardino Campi...

Study for a Man, perhaps Italian School , Follower of Caracci. Old Master Painting. In a Golden Frame, 52 x 46 cm.

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

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

Basile de Loose Portrait of a Child signed and dated „1861“ Basile De Loose (17 December 1809 – 24 October 1885) was a Belgian painter. He was born in Zele, East Flanders, United K...

The Christ Child as Redeemer of the World Oil on Canvas, 69.3 x 49.7 cm Provenance Private Collection, Belgium The present painting is known in different versions. One of them is ...

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...

Portrait Of Thomas Smythe (1514-1577), 16th Century School of Hans HOLBEIN (1497-1543) Fine huge 16th Century English Old Master portrait of Sir Tho...

Rare late 16th century Spanish Old Master portrait of a young lady This fine, life-sized portrait depicts a young lady holding a red flower. She is wearing an elaborate and highly luxurious costume which is adorned with some very expensive jewels, such as the, golden bracelets and rings and the long pearl necklace and earrings. Given that pearls were a highly prized and expensive possession at the time, the large amount of them in this portrait emphasise the sitters' social status and wealth. The costume that our young lady is wearing can be identified as a Spanish court...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven people seated below him. The saint ...

‘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...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. It is believed, thanks to the research of art historians Marco Tanzi and Andrea de Marchi, that these represent the missing panels from the famed polyptych that was formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

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...

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

In late 17th century Amsterdam, no one could rival Nicolas Maes (1634– 1693) in the art of portraiture. As one of Rembrandts most accomplished pupils, Maes explored both genre painti...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven people seated below him. The saint ...

Figurative Group Five Ladies Italian School, late 17th century/ early 1700's sketch of a lamb showing verso to panel oil painting on panel, framed framed: 20 x 24 inches board: 14 x ...

This piece from Berlin's studio dates back to 2003 but has only now been released. She's an a la mode young woman from the halcyon days of the Belle Epoque; confident and bewitching ...

Lorenzo Lippi (Florence, May 6, 1606 - Florence, April 15, 1665) is a Baroque painter of the Florentine school and a seventeenth-century Italian poet.

Artist/ School: Italian School, 18th century Title: The Annunciation, depicting the Angel Gabriel appearing to the Virgin Mary with the news she was with child. Beautifully painted ...

Artist/ School: Italian School, late 19th century Title: Head & Shoulders portrait of the Madonna in Contemplation Medium: oil on canvas, framed Framed: 18 x 15 inches Canvas: 14 ...