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PORTRAIT OF COURT MUSICIAN JOSEF LEMBERGER (1667-1740) Hungarian School

Portrait Of A Piedmont Nobleman & Military Officer, House Of Savoy, early 18th century Italian School Fine large 18th Century portrait of a Piedmont ...

Portrait Of A Gentleman Holding Flowers, circa 1600 Flemish School Large circa 1600 Flemish School portrait of a man holding flowers wearing a plumed hat, oil on panel. Exceptional...

Portrait Of A Lady Holding A Flue, 18th Century French School Large 18th century French School portrait of a lady holding a flute, oil on canvas. Magnificent and unusual portrait ...

Portrait Of John Parker, 1st Lord Boringdon (1735-1788), 18th century School of Joshua Reynolds (1723-1792) Large 18th portrait of John Parker, 1st Lord Boringdon, oil on canvas. E...

18th century Dutch old master oil, A boy playing the flute by Margaretha Wulfraet The present painting captures a young boy standing gracefully in a sunlit park, his fingers resting...

Minstrel - Giovanni Faliero Italia 2002 - Oil on canvas cm. 80x60. Giovanni Faliero’s painting depicts an elegant musician, his figure is well lit, accentuated by strong contrasts with the shaded areas. the Baroque style painting...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

Portrait of a Young Boy French Rococo School, 18th century oil on canvas, framed Framed: 24 x 20 inches Canvas : 20 x 16 inches Provenance: private collection, France Condition: very...