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Adriaen Souter
Depiction of the First Mission on Formosa (Taiwan), by Chinese Artist and Souter

1643

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  • A Chinese Company playing Droughts
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    ERWIN BINDEWALD (1897-1950) Two men playing draughts, a girl with the red book standing behind them Signed and dated E. Bindewald d.j., 27 Oil on canvas, 140.5 x 90.5 cm In black and gilt gesso frame. Note: Bindewald was born in Charlottenburg. He moved to Berlin in 1914 where he studied till 1924 at the Berliner Kunst Akademie. Bindewald travelled in Europe, but mainly stayed in Germany and certainly never was in China. This painting was made in Europe, presumably in the China Town of Berlin. Bindewald received several commisions in Germany from factory owners who wanted their factories painted inside, usually with workers, as well as outside. In the present painting the sitter on the right seems to be a man with a Manchurian background, wearing the brown coat reserved for the highest aristocracy in China. In China the black sleeve-ends completely cover the hands, indicating that the high aristocracy does not have to do any manuel labour. This man clearly is not a factory worker but he possibly is the (co)- owner of the factory in the background and as such might need his hands to do at least some writing. The man on the left in the modern Western suit...
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  • Portrait of a Chinese Man
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    Lazlo Tatz (Hungary 1888 - Philippines 1951) Portrait of a Chinese man Oil on canvas, H. 50 x W. 44.5 cm Tatz studied in Budapest and Paris, and in 1931 h...
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  • Male and female portrait, both in silk kimono, possibly textile dealers
    By Christoffel Lubieniecki
    Located in Amsterdam, NL
    CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...
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  • Study of a dog
    Located in Amsterdam, NL
    Study of a dog Oil on paper laid down on panel, 17.5 x 25.5 cm Provenance Private collection, the Netherlands Note: We are grateful to Mr Fred Meijer for his attribution to Ludolf de Jongh Ludolf de Jongh was the son of a shoemaker. When his father moved to Rotterdam, the young Ludolf decided to learn art rather than shoemaking and became a pupil of Cornelis Saftleven. Later he studied under Anthony Palamedes in Delft and still later with Jan van Bijlert in Utrecht. In 1635 he travelled to France with Francis Bacon. Seven years later, in 1642, he returned to the Netherlands when he heard that his mother had fallen ill. He set up a shop in Rotterdam, and his earliest signed paintings date from that year. According to Houbraken, his travels had caused him to speak French so fluently, that his parents had to learn French in order to speak with him. De Jongh’s work shows a strong influence from the Utrecht school of Caravaggio admirers, especially Jacob Duck...
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    Study of a dog
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  • Self-portrait in Indonesian Landscape
    Located in Amsterdam, NL
    Abraham Johannes Romswinckel (1810-1856) Self-portrait in Indonesian landscape Inscribed Abr. Joh. Romswinckel, geb. Batavia 17 Oct. 1810, overl...
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  • Portrait of a Geisha
    By Roland Strasser
    Located in Amsterdam, NL
    Roland Strasser (1895-1974) "Japanese Geisha" Signed lower right Oil and gold leaf on canvas, measures: 76 x 46 cm In fine white-wash wood frame. ...
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    Located in Cirencester, Gloucestershire
    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: ...
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  • Fine Georgian Oil Painting British Portrait of 18th Century Gentleman
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  • Head of an Angel
    Located in New York, NY
    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...
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  • Fine Large 17th/ 18th Century English Portrait of Mr. Gilbert Charity Founder
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