Unknown

St. Charles Borromeo. Early 17th century. Painting on Copper.

Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from the late Renaissance period. Spanish school. Size: Cm 19 x Cm 13.5 Oil on wooden panel. On the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment. About 1600-1610. As often in Mannerist / Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here: DON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?) (1534, Autillo de Campos, Spain - 1601, Córdoba) Francisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba. He was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid. Francisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination toward religion and piety from an early age. He studied Latin, arts, and theology at the University of Salamanca. In 1562, he traveled to Rome with his brothers Pedro and Luis. In January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary. After Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuel was a canon. He supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books. During the brief outbreak of the Black Plague...

Portrait of a noblewoman. Attributed to Carlo Ceresa. (1609 - 1679, Bergamo) Oil on canvas. Size cm 110x86,5cm with frame Around 1640. This portrait depicts a middle-aged woman with great realism, typical of Lombard and Bergamo painters in particular. Carlo Ceresa, probable author of this unsigned painting, had studied with Daniele Crespi...

Ca. 1820 Portrait of a Woman. Léon Cogniet (1794-1880, Paris), attributed. French school of 19th century. Tecnicque: oils on canvas. Dimensions: 70cm x 61cm 20th century wooden frame. Old attribution to Léon Cogniet (1794-1880, Paris) is inscribed on the wooden frame. Portrait of the restoration period, post Napoleonic wars. Stylistically the painting is found in the transition period from the late Empire period to the beginning of Romanticism. The new artistic trends can be seen in the increased naturalism, representation of the landscape/nature, in the contrasts, and in a greater emotionality of the person represented. Detailed but loose is the way to describe the winter dress...

  Peasant Girl And Little Lady With Toys. Europe, Romantic Era, Mid-19th Century This mid-19th century painting, done in oil on canvas, belongs to the Romantic era. It portrays a t...

Portrait of a Gentleman wearing a Ruff Collar Dutch/ French artist, 18th century oil painting on copper, unframed copper board : 6.75 x 5 inches provenance: private collection, UK co...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Portrait of a Young Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Pro...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...