Unknown

Young Woman Mourns a Dead Bird - Old Portrait Painting Grey Beige White Black

circa 1895

"My Ex" is a painting by Maestro Pancho Malezanov. About the painting: TECHNIQUE: Acrylic, painting on canvas STYLE: POP ART, Contemporary Edition : Unique, signed Weight: Approx...

"Golden light" is a painting, oil on canvas by Maestro Natalia Yampolskaya. About the artwork: TECHNIQUE: oil painting STYLE: Contemporary Edition : Unique, signed Weight: Approx...

"Lucia" is a painting by the South African - French artist Leith Ridley. A bit of fun and colour based on the face of portrait of a young woman in a black hat by Petrus Christus in ...

Dear clients, Thank you so much for your interest to the art of Maestro Marina Dobrovolskaya. The artist Marina Dobrovolskaya has escaped the war in Ukraine and she is safe with her family in Bulgaria, in the historic city of Bansko, where she continues to create her incredible ART. Unfortunately, she had to leave all her artworks and her native town Kharkiv in Ukraine. We wish you well and in the meantime we hope you will enjoy our artworks in a digital way! Kindly yours, Snow Pearl art gallery Milko Pamouktchiev Owner "Stolen childhood" is a portrait painting on canvas by Maestro Marina Dobrovolskaya for the terrible impact on the children caused by the war. The painting is unframed. Frame: Optional Snow Pearl gallery offers the possibility to increase the value of this artwork by adding a gorgeous wooden Italian contemporary frame of your choice. We can also offer a very special ancient restored frame. The frame can be hand-carved with composition ornamentation and hand-applied, with water gilded with 22 Kt. genuine gold leaf over rouge burnishing bole and then patinated to the appropriate patina. This will slightly increase the price, the shipping cost and the delivery time. The paintings bring emotion of happiness, love, energy and beauty represented by the vast creative power of her talent.” Dear art lovers, if you like the art of maestro Dobrovolskaya, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. “The impressions of Marina's paintings on the viewer is so mighty, mesmerizing, grand, that it paralyzes the imagination and leaves no option. Her paintings bring emotion of happiness, love, energy and beauty represented by the vast creative power of her talent.” Maestro Dobrovolskaya Marina Evgenievna was born in 1986, in Kharkov. In 2009, she graduated from the GS faculty of the Kharkov National Academy of Municipal Economy with a degree in architecture. Member of the Kharkov Organization of the National Union of Artists of Ukraine (graphics section) since 2018. She took part in course for design and decoration. She practices techniques of decoupage, craquelure, painting on glass, modeling of polymer clay, drawing up fabric and floristic panels, felting. She is master in technique of sand animation. It works both in online animation and in the creation of original paintings made with sand on glass. She took part with sand animation in the annual charity evening held in London. Participant of numerous All-Ukrainian exhibitions and international open-airs. In 2010, she taught sand animation at the Beitdan Jewish Center (Kharkov). In 2013, she took part in a drawing course at the Family Art Club Family Development Center, in 2014 she worked in a ceramic workshop (Kiev). The peculiarity of the artist is in her individual manner of execution: Maestro Dobrovolskaya works with mixed technique of watercolors and pastels, which gives the work a feeling of hyper-realism. Portraits occupy a special place in her work, in which great attention is paid to detailing in order to convey the character of a person. In the technique of pencil graphics, as well as mixed (pencil with a liner), the artist depicts the city landscape - one of her favorite subjects, which is due to her training at the Department of Architecture and Urban Planning, under the guidance of remarkable teachers: N.I. Krivoruchko, V.P. Manokhin, V.A. Kodina, L.O. Bogdanova and others. List of exhibitions: 2016 -2017 Allukrainian artist vistavka “Rіzdvyana” (Kyiv) 2016-2017 The All Ukrainian painting...

"Face Of My Muse" is a portrait painting by the South African - French artist Leith Ridley. About the artwork: TECHNIQUE: oil painting STYLE: Portrait, Contemporary Edition : Uniq...

"Frida" is a figurative, romantic painting by Maestro Yovana Dimitrova, She is an emerging artist. About the artwork: TECHNIQUE: Tempera painting STYLE: Contemporary Edition : Unique, signed Weight: Approximately 3 kg. “The impressions of Yovana's paintings on the viewer is perfection. Her paintings bring emotion happiness, positive energy and make you think about the nowadays problems. This painting represent the vast creative power of her talent.” Dear art lovers, if you like the art of maestro Dimitrova, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. Numerous artworks of the artist have been sold to galleries and individuals around the world A certificate of authenticity of the artwork is delivered by Snow Pearl art gallery.

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...

This stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

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...

Signed and dated, lower left: Louise Hersent/ 1823 Provenance: Private Collection, Chicago, by 1996 Private Collection, Florida This charming portrait of a young boy is the work of Louise-Marie-Jeanne Hersent, a little-known woman artist of the French Restoration often identified by her maiden name, Mauduit. While Hersent—as we will call her here following the signature on the painting—has been understudied, the known details of her life and career reveal that she held a privileged position in artistic life in the early nineteenth century in Paris. She exhibited at the Salon from 1810 until 1824, and in 1821 she married the painter Louis Hersent, a successful pupil of Jacques-Louis David who was patronized by Louis XVIII and Charles X. It is likely through her husband’s royal patronage that Hersent’s Louis XIV Visits Peter the Great was purchased for the Royal Collection in Versailles. In 1806, while still Louise Mauduit, she painted a portrait of Napoleon’s youngest sister, Pauline Bonaparte...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...