John Opie19th Century Oil Painting Portrait of a Musecirca 1802
circa 1802
About the Item
- Creator:John Opie (1761 - 1807)
- Creation Year:circa 1802
- Dimensions:Height: 46.5 in (118.11 cm)Width: 43.25 in (109.86 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU67335788342
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 1 day of delivery.
- 18th C. Portrait of the 4th Earl of Sandwich a View of Constantinople BeyondLocated in London, GBJohn Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...Category
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MaterialsOil
- 18th Century Oil Painting Portrait of Provost John Pitcairn of DundeeBy Sir Henry RaeburnLocated in London, GBThe pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
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- 17th Century Italian Oil Painting Portrait of Music Prodigy Girolamo FrescobaldiLocated in London, GBPortrait of Girolamo Frescobaldi (1583-1643) Attributed to Antiveduto Della Grammatica (1571-1626) Oil on Canvas 1605-1609 Framed in a Nineteenth Century gild and composite frame 44....Category
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- Stunning 17th Century Oil Painting - Study of a Head of a ManBy Anthony van DyckLocated in London, GBStudio 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...Category
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- Lady Dormore - A 16th Century Portrait of a key member of Shakespeare's EnglandLocated in London, GBLady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...Category
16th Century Old Masters Figurative Paintings
MaterialsOil
- Children, Oil PaintingLocated in San Francisco, CA
Artist Comments
A small group of children huddle around a street fire. The flickering flames cast a modest glow on their pale complexions and provide warmth on a cold winter night. In this piece, artist Connie Millholland...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil
- Anywhere, Oil PaintingLocated in San Francisco, CA
Artist Comments
In a subway station, commuters engage in various pastimes as they wait for the train to arrive. One reads a newspaper, another talks on a cell phone, while the rest occupy themselves with their thoughts. Amidst the bustle, mumbled conversations, and rumbling railway noises, the red-haired woman sits with her eyes closed, immersed in a contemplative moment.About the Artist
Words that describe this painting: train, subway, cellphone, newspaper, reading, waiting, Isabel Bishop, Vincent Van Gogh, Pablo Picasso, primitivism, travel, text, urban, people, travel, primitive, oil painting, grey
Anywhere
Connie Millholland...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil
- 1926, Oil PaintingLocated in San Francisco, CA
Artist Comments
A group of joyful women walks down the street, each holding a glass of wine, a balloon, or a book, celebrating and having a good time. Their laughter fills the air, creating a vibrant and festive scene. Their attire matches the purple and yellow background, adding to the lively atmosphere.About the Artist
Words that describe this painting: women, woman, friends, friend, fashion, wine, celebration, friendship, people, fashion, primitive, oil painting, purple
1926
Connie Millholland...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil
- Regressive, Oil PaintingLocated in San Francisco, CA
Artist Comments
The artwork depicts a snapshot of modern urban life, where people on the streets are glued to their phones. Whether chatting, checking notifications, or scrolling through feeds, the scene shows how busy a city can be in the digital age. Using a harmonious palette mostly with warm orange tones, the painting exudes a vibrant and inviting atmosphere. Loose brushstrokes infuse the composition with liveliness.About the Artist
Words that describe this painting: street, walking, cellphone, crowd, walking, urban, crowd, pedestrians, shadow, warm, people, primitive, oil painting, orange
Regressive
Connie Millholland...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil
- Waiting, Oil PaintingLocated in San Francisco, CA
Artist Comments
In their daily lives, individuals from diverse backgrounds briefly converge in a shared space as they progress toward a mutual destination. The scene portrays a busy subway station where individuals may have brief and disconnected interactions but are all bound by the same journey and humanity. Each person's story weaves together with others, forming a tapestry of diverse experiences and connections.About the Artist
Words that describe this painting: street, subway, crowd, traveling, shadow, urban, people, primitive, oil painting, grey
Waiting
Connie Millholland...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil
- Suspicious, Oil PaintingLocated in San Francisco, CA
Artist Comments
A young woman wearing a matching gray dress and boots stops in the middle of a city street. Her eyes widen as she looks back on so...Category21st Century and Contemporary Outsider Art Figurative Paintings
MaterialsOil