Justus Sustermans

Portrait of Ferdinand II de' Medici (1610-1670), Grand Duke of Tuscany, in armou

Circa 1625

This portrait of a young boy with an apple is a beautiful piece by Georg Cornicelius.

Thomas Gainsborough 1727-1788 Portrait of Vice Admiral Sir Thomas Brodrick Oil on Canvas 75cms x 61cms Framed

‘The Pet Bullfinch’ James Sant CVO RA (1820-1916) oil on canvas 30 x 25 in. (76.2 x 63.5 cm.) James Sant was a well known Victorian painter particularly of women and children, as both portraits are allegorical subjects, i.e. a painting that can be interpreted to have a hidden meaning, often political or moral. Sant exhibited at the Royal Academy and in 1871 was appointed Principal Painter in Ordinary by Queen Victoria, having painted many portraits of the Royal children. One of his most famous being that of Prince Leopold and Princess Beatrice...

THOMAS BEACH (1738-1806) Two Children Oil on canvas Canvas size : 50 x 40 inches (127 x 102 cms) Framed size : 57 x 47 inches (145 x 120 cms) Frame : Early 20th century carved ...

Frederick Yeates Hurlestone (1800 – 1869) Regency Sisters Oil on Canvas Size: 153cm x 126cm framed Frederick Yeates Hurlstone (1800 - 1869) was an English portrait and historical painter. Hurlstone exhibited at the Royal Academy for many years. He was a member of the Society of British Artists and was President of the Society until his death. He was born in London, the eldest son by his second marriage of Thomas Y. Hurlstone, one of the proprietors of the "Morning Chronicle" (his granduncle, Richard Hurlstone, was a well-known portrait-painter a generation earlier). He began life in the office of his father's journal, but, while still very young, became a pupil of Sir William Beechey, afterwards studying under Sir Thomas Lawrence, and also, it is said, under Benjamin Haydon. His first original work was an altar-piece, painted in 1816, for which he received 20 pounds. In 1820 he was admitted as a student of the Royal Academy, where in 1822 he gained the silver medal for the best copy made in the school of painting, and in 1823 the gold medal for historical painting, the subject being "The Contention between the Archangel Michael and Satan for the Body of Moses". He first exhibited in 1821, sending to the Royal Academy "Le Malade Imaginaire" and to the British Institution a "View near Windsor". These were followed at the Academy in 1822 by "The Return of the Prodigal Son" and a portrait, in 1823 by five portraits, and in 1824 by his "Archangel Michael" and some more portraitsOne of his best early works was "A Venetian Page with a Parrot", exhibited at the British Institution in 1824. In 1824 also he contributed "The Bandit Chief" to the first exhibition of the Society of British Artists. He continued to send portraits to the Royal Academy until 1830, but in 1831 he was elected a member of the Society of British Artists, after which he seldom exhibited elsewhere. He was chosen president in 1835, and again in 1840, retaining the office until his death. He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being "The Enchantress Armida", exhibited in 1831; "Haidee aroused from her Trance by the sound of Music", 1834; "Eros", 1836; "Italian Boys playing at the National Game of Mora" and the "Prisoner of Chillon", 1837; "The Scene in St. Peter's, Rome, from Byron's Deformed Transformed", 1839; "The Convent of St. Isidore: the Monks giving away provisions", 1841; and a "Scene in a Spanish Posada in Andalusia", 1843. In 1844 and, for the last time, in 1845 he again sent portraits to the Academy. His subsequent works at the Society of British Artists included "The Sons of Jacob bringing the blood-stained garment of Joseph to their Father", 1844; "Salute, Signore", 1845; "A Girl of Sorrento at a Well", 1847; "Inhabitants of the Palace of the Cæsars—Rome in the Nineteenth Century" 1850; "Columbus asking Alms at the Convent of La Rabida" 1853; "The Last Sigh of the Moor" (or "Boabdil el Chico...

Sir Roger De Coverly and his Hounds” by Richard Barrett Davis (1782-1854) Oil on Canvas, Unframed Size: 85 x 112cm Framed Size: 114 x 141cm Signed and dated 1843 Richard Barrett D...

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

Andre Minaux (French 1923 - 1986) "Femme et Homards" / Woman with Lobsters. Oil on canvas. Features a young woman holding one lobster while two others sit on a counter before her. ...

Nancy Lamb (American, born 1956), sculptor and painter. Formally trained at Texas Christian University and the Fort Worth Museum of Science and History, whe...

Listing includes framing with UV plexi, free shipping to the continental US and a 14-day return policy. Diana (Spencer), Princess of Wales from the series “All About Eve...

Elisabeth DUJARRIC de LA RIVIÈRE (Jouy-en-Josas 1930 - Excideuil 2005) Self-portrait with apple Oil on canvas H. 100 cm ; L. 73 cm Sig...

Nino Giuffrida (Sicilian, 1924, active in France) Un Garçon avec des Fruits • Oil on canvas, ca. 41 x 33 cm • Frame, made by the renowned framer Knöll from Zürich, ca. 54 x 46 cm • Signed top left Born in 1924 in Sicily, Nino already attended the artistic high school in Catania at the age of 17, where he befriended fellow painters including Pippo Aleo and Giovanni Calogero. At that time, he painted with passion everything he saw, landscapes, seascapes, still lifes. After a first attempt to come to France with his friend Giovanni in 1948, aborted for lack of a visa. Nino finally arrived at the Gare de Lyon on December 8, 1949 and settled at number 30 rue Gabrielle in Montmartre. Nino began to paint Paris. Like many Montmartre artists of this period, while he painted all day long, he moved about in the evening on the terraces of the cafés of Montmartre and Saint-Germain-des-Prés to transform himself into a portrait painter and randomly sketch the customers in restaurants. Nino then devoted himself more and more to the painting of children, which became his favorite theme of inspiration. Pierre Imbourg, journalist and art critic, wrote of him: "Montmartre, the land of little ‘Poulbots’, inspiring Nino to record in his mind all these childrens faces whose intense facial expression he would endevour to reproduce". It was also at this time that his career as a Montmartre painter influenced by cubism began. With the disappearance of the art galleries in Montmartre, Nino decides to settle on the French Riviera, in Cannes then in Vallauris. From 1952 his personal exhibitions follow one another and Nino becomes an international painter: Rome, Brussels, Chicago, Copenhagen, Helsingborg and Aüs in Sweden, in Geneva, in Kourou in Guyana... In Paris, he manages the Galerie de la Colonne...