Louis Auguste DUBOIS

Portrait Of A Nude Girl as Huntress Diana, dated 1888

Portrait of A Boy, N Williamson, early 20th Century inscribed to GLYN WARREN PHILPOT (1884-1937) Large early 20th Century portrait of a young boy...

Portrait of Roland Laura & Stephen Astley Kennard, 19th Century by Joseph FARQUHARSON (1846-1935) Large 19th Century Scottish portrait of Laura and Stephen Astley Kennard, oil on canvas by Joseph Farquharson. Excellent quality and condition example of the famous Scottish painters...

The Young Cricketer, 19th Century English School 19th century portrait of a young cricketer, oil on panel. Good quality and condition rare early original cricket portrait of the yo...

Portrait Of A British Officer, early 19th Century Napoleonic wars Era Early 19th Century Napoleonic Wars Era portrait of a British military officer, oil on canvas. Excellent quality and condition portrait of the officer in his red tunic...

Portrait Of An Gentleman In The Mountains, 19th Century Italian School Large 19th Century Italian School portrait of a gentleman in the mountains, oil on canvas. Good quality and c...

The Martyrdom Of Saint Andrew, 18th/19th Century follower of Bartolomé Esteban Murillo (1617-1682) - signed Murillo Huge 18th Century Span...

oil on canvas 18" H x 14" W

Paul Manes was born May 4, 1948 in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and hi...

Oil paint on canvas Hand-signed on the back by the artist “At first glance, we are invited to a colorful carnival. Everything is movement here! As if Julien Wolf had tried to captur...

Madonna with Child 90 x 70 cm Oil on canvas Framing is possible Ksenya Istomina graduated in 2018 at the 'Imperial Academy of Arts in St Petersburg'. Since her start she is well ...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...