Unknown

An Allegory Of Motherhood & Charity, 17th Century

The Brith Of Eve, 17th Century French School - Huge Piece Huge 17th Century French Old Master depiction of The Birth of Eve, oil on canvas. Huge scale early French Old Master unusu...

Portrait Of Roman Emperor Trajan (98-117 CE) Italian School - Huge Half Length Side Profile Huge 17th/18th Century Italian Old master...

The Consecrated Madonna, circa 1700 Eastern European School Large 17th 18th Century European School depiction of the Consecrated Madonna,...

Portrait Of A Nude Male, 19th Century French School Large 19th Century French School portrait of a nude male, oil on canvas. Circa 1880 full length nude study of a male nude...

Portrait Of Félicité de Noailles, Duchesse d'Estrées (1683-1745), circa 1700 circle of Pierre GOBERT (1662-1744) Large circa 1700 Portrait of Félicité...

Melancholy, dated 1871 by PIETER VAN HAVERMAET (1834-1897) Large 19th Century portrait a young woman in sorrowful reflection, oil on canvas by Pieter Van Havermaet. Excellent quality and condition three quarter length portrait in a part of the young lady, perhaps in mourning, holding a parasol and a small bunch...

A vintage king size oak tester or four poster bed in the Renaissance style. Hand carved with Adam & Eve carvings in the headboard, figurative sculptures in the bedposts, three carved armorials on the pelmet rail and an armorial tapestry and velvet bedspread...

Rare late 16th century Spanish Old Master portrait of a young lady This fine, life-sized portrait depicts a young lady holding a red flower. She is wearing an elaborate and highly luxurious costume which is adorned with some very expensive jewels, such as the, golden bracelets and rings and the long pearl necklace and earrings. Given that pearls were a highly prized and expensive possession at the time, the large amount of them in this portrait emphasise the sitters' social status and wealth. The costume that our young lady is wearing can be identified as a Spanish court...

The painting copies a reproduction print after a painting by the French artist Nicolas Vleughels (Paris, 1668-Rome,1737). Edme Jeaurat made the print from 1719. Erato -the muse of love poetry- writes down a love poem that Amor whispers to her and holds a lyre in her other hand. Euterpe -the muse of lyric poetry- with her flutes shows that the pastoral poems are hers. The swans – the animals that pull the chariot of the goddess Venus- symbolize beauty and grace. Although the painter has done his best to reproduce the print, his work shows some weaknesses. Most striking is the rather poor anatomy of Euterpe’s shoulders. Her head also seems randomly stuck to them. The original painting by Nicolas Vleughels was part of a series of four paintings...

Titan Fine Art are pleased to present this exquisite work which recent research has uncovered its fascinating provenence. This work formed part of the collection of family pictures and heirlooms of Barons de Saumarez family at their magnificent 1,400-acre manor, Shrubland Park, near Ipswich, England. The manor was considered amongst the finest Italianate country homes in Britain and the family held the estate for over 200 years (from 1798) until it was sold in 2006 thus marking the end of an era. This exquisite work is an accomplished example of the type of portrait in vogue in England during the last half of the seventeenth century. The highly keyed pallet of rich mauves of the dress is particularly beautiful. The billowing sleeves and the hairstyle help to date this painting to the early 1660’s when they were fashionable (just before the centrally-parted curled hair of the early 1670’s). Pearls were an obligatory accompaniment since at least the 1630s and here they are worn as a necklace and as pear-shaped earrings called ‘unions d’excellence’, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20mm in diameter. Although the lady could afford pearls of her own, pearls were also a common prop in artist’s studios of the time. It was common to commission a portrait to mark important occasions such as a betrothal or birth - but it was also common for both men and woman to commission portraits of themselves to give as gifts to their family or friends (and also to keep up to date with current fashions). The motif of the horizontal ledge employed in this portrait is quite unusual. Its inclusion affords the portrait with a sense of uniqueness making it stand out from the legions of others that were painted at the time. The first recorded owner of the estate was Robert de Shrubeland, although there is evidence of occupation on the site since the Roman period. The previous Tudor-style Shrubland Hall was built by the Booth family in the early 16th century. The present Grade II listed hall was built in the 1770’s for the Revd. John Bacons. The property changed hands a few times until it was purchased in 1798 by Sir William Fowle Middleton, 1st Baronet. It descended from him to the 7th Baron de Saumarez, Eric Saumarez who sold the property in 2006 following the death of Lord de Saumarez's father in 1991 and his mother, Lady de Saumarez, in 2004. The property was one of finest stately halls, with spectacular gardens and more than 1,300 acres. The equal, it was said, was Queen Victoria’s Osborne House on the Isle of Wight. Baron de Saumarez, of the Island of Guernsey, is a title in the peerage of the United Kingdom created on 15 September 1831 for the naval commander Admiral Sir James Saumarez, 1st Baronet. The ancestral family seat was at Le Guet, Castel, on the island of Guernsey, with a second seat at Shrubland Park. The Saumarez Manor estate in Guernsey belongs to a senior line of the family from which the Barons de Saumarez are descended: Matthew de Sausmarez (1718–1778), father of the first baron, was the younger brother of John (1706–1774), of Sausmarez Manor. Presented in a beautiful antique carved and gilded frame with acorns and acanthus leaves. Sir Peter Lely’s character and art dominated the art world of the second half of the seventeenth century in England. Everyone of consequence in his age sat to him, and it is in his portraits that we form our conception of English portraiture during the Protectorate and years following the Restoration. He was the son of a Dutch military...

This resplendent painting follows in the tradition of royal portraits and was designed to convey an image of courtly majesty. Titan Fine Art presents this portrait in which the sitter wears a black gown, a white reticella ruff and matching wrist ruffs, and the typically Spanish long-hanging loose sleeves, under which are undersleeves trimmed with gold and silver. The one-piece gown is decorated with different textiles and different shades of black. In addition to the costly materials there is a fortune in jewellery displayed, most remarkable is the huge gold, ruby, and pearl pendant in the form of two cherubs supporting a crown, and the heavy four-layered golden chain necklace. The expensive attire proclaims to every onlooker that this is a superior being. This stately and formal portrait had become a standard format for aristocratic portraiture in late 16th-century Europe. The Venetian flag fan (in Italian: ventarola) in her hand was probably manufactured in Venice where the carrying of flag fans was especially prevalent throughout the fifteenth and sixteenth centuries before they gave way to the modern type of folding fan. Even though their use spread throughout Italy they never, it is thought obtained any great vogue outside of Italy. The example in our portrait is cut with fine lace and it served a practical purpose – the 'flag' spun around the handle creating a breeze – but also signified the elite status and refined taste of its possessor. The English Elizabethan and early Jacobean traveller and writer Thomas Coryat (also Coryate) (c.1577-1617) wrote during his visit in 1608: "The first fannes that I saw in Italy did I observe in this space betwixt Pizzighettone and Cremons. But afterward I observed them common in most places of Italy where I travelled. These fannes both men and women of the country do carry to cool themselves withall in the time of heat, by the often fanning of their faces. They were used every day and discarded when old, worn out, or soiled. Most of them are very elegant and pretty things." Thus, this painting is a rare and early portrayal of this accessory. The painting is also notable for its state of preservation having not undergone a lining process (laid onto a newer canvas for support) and as such it is extremely rare for a painting of this age. Held in a good quality antique ebonised frame. Frans Pourbus...

‘L’Extase’ by Charles Joshua Chaplin (1825-1891). The painting - which depicts a young Parisienne society beauty captured en déshabillé - is inscribed by the artist verso and sold in a superb quality bespoke gold metal leaf neoclassical frame. As one of his most popular paintings...

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

This exquisite portrait, presented by Titan Fine Art, of William Seymour is a product of the studio of the court painter, Sir Peter Lely. The sitter was Duke of Somerset...

Cesare Gennari (Cento, 1637 - Bologna, 1688) Rinaldo holds back his beloved Armida Oil on canvas - 119 x 164 cm. - In frame 141 x 189 cm. The work is accompanied by a critical study written by prof. Emilio Negro (Bologna) This valuable work can be ascribed to the production of Cesare Gennari (Cento, 1637 - Bologna, 1688), and depicts the episode of the last canto of the heroic poem the 'Gerusalemme Liberata' by Torquato Tasso, which features the two famous lovers...

Possibly painted by the young Jusepe de Ribera c. 1620-30 A Holy Monstrance Surrounded by Putti We would like to thank Mr David M. Stone and Nicola Spinosa for examining the paint...

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...

Artist: Unknown 21 ⅝" x 30 ¼" | Oil on Canvas Frame Size: 29" x 35.5"

From the Estate of Gillian DuPont of Marshall, Va

Artist: Unknown Works: Original Oil Painting, Handmade artwork, One of a Kind Medium: Oil on Linen Year: 1850 Style: Realism, Tonalism Subject: Portrait, Size: 13" x 10" x 3/4'' inc...

Charming mid-century modern profile portrait of a girl in a red dress. Oil on canvas painting signed Hedy. Beautiful piece with deep blues and reds. Set in a frame 17 wide by 20 inch...

Study of Hands with Cigarette French, early 20th century Oil on canvas on wood panel Unsigned 6 1/2 x 9 (10 1/8 x 12 3/8 inches) A very interesting and competently executed study ...