Nathaniel Dance

Portrait of Peter Delmé of Earlstoke

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a young boy holding his pet squirrel Oil on canvas Canvas Size - 30 x 25 in Provenance Sale, Sotheby's New York, Old Master...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

Attributed to John Downman (1750-1824) Portrait of a young gentleman, seated beside a tree Oil on canvas Canvas Size - 30 x 25 in John Downman was a fashionable portrait painter in the second half of the eighteenth century and the beginning of the nineteenth. He was born in Ruabon, North Wales, the son of Francis Downman, an attorney of Devonshire stock, and his wife Charlotte, daughter of Francis Goodsend, the private secretary to George I. In 1768 John became a pupil of Benjamin West and the following year attended the Royal Academy Schools. He showed his first portrait at the RA in 1770 and his first subject painting in 1773, exhibiting there until 1819. From 1773-4 Downman, by now married, studied in Rome in the company of Joseph Wright of Derby. By 1777 Downman was living in Cambridge, but the following year set up a studio at Bedford Street, Covent Garden. From 1779-1804 he lived at increasingly fashionable London addresses, including Bond Street, Jermyn Street and Piccadilly. Downman painted few large-scale oil portraits...

David Morier (1705-1770) Portrait of a gentleman in red military uniform Oil on canvas Canvas Size - 32 x 24 in Framed Size - 39 1/2 x 31 in Provenance: Sale, Christie's London, 21s...

Frank Samuel Eastman (1878-1964) Self Portrait Oil on canvas Canvas - 34 1/2 x 26 1/2 in Framed - 40 x 32 in Provenance: by descent from the artist Frank Eastman...

Benjamin Barker of Bath (Pontypool 1776-1838) Figures resting by a fire with a wagon in a wooded landscape Oil on canvas 28 x 35 7/8 in 71.1 x 91.2 cm Benjamin Barker, the younger ...

Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...

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...

Charles Jervas (1675-1739) Portrait of Joseph Mellish (1675-1733) Oil on canvas; held in a carved period frame Dimensions refer to size of frame. Provenance: Blyth Hall, Nottinghamshire, England; by descent to Sir Andrew Buchanan of Hodsock Priory, Nottinghamshire In 1635 John Mellish, a merchant tailor of London, bought the estate of Blyth in Nottinghamshire. His son, a wealthy Oporto merchant, dying unmarried, left Blyth in 1703 to a cousin, Joseph Mellish, who became one of Newcastle’s earliest and most important political supporters in the county. He went up to Clare College, Cambridge in 1692 and on to the Inner Temple the following year. He married Dorothea Gore, daughter of Sir William Gore...

Work on canvas Empire plaster frame and gilded wood 42 x 38 x 5 cm

Jacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...