Antique French Art

Georgina Lara British, (fl. 1862-1871) A Busy Village Oil on canvas Image size: 11.75 inches x 19.25 inches Size including frame: 16.25 inches x 24.25 inches Provenance: Cooling Galleries, Bond Street, London A pleasing village scene featuring figures, horse and other animals in a village square. To the left, a team of horses with a hay cart can be seen resting whilst a group of people chat outside a village store. In the foreground a group of children play marbles by a dog as two women chat by a log. Meanwhile, a horse and cart is shown entering the village alongside a barn. Georgina Lara also known as Edwina Lara was a London painter of rustic farmyard and village scenes. Her work also closely resembles that of Edward Masters...

Bernard Hemy - Bernard Benedict Hemy (1844 - 1910). Marine and Coastal painter in oil and watercolor. Born in Newcastle to Henry F. Hemy, brother...

Item is in excellent condition and has only been displayed in a gallery setting. Item includes frame; framed dimensions are approximately 31 x 38 inches. Cornelis le Mair is truly a renaissance man, encompassing all disciplines of the arts. He enjoys painting, drawing, writing, architecture, sculpture, and interior design. Le Mair was born in Eindhoven, The Netherlands in 1944. He began drawing and painting at the young age of five and while in kindergarten, he was often made to show his paintings in other classes even though he was shy about doing so. “When I could not play outside because of bad weather, I would sit in my bedroom and would draw.” His early art studies were widely influenced by the Rembrandt exhibit in the Rijksmuseum (1956) that he attended with his father. There le Mair was inspired by the Old Masters and “the desire to unravel all the mysteries hidden under the cracked varnish” began. Already having painted a lifesize copy of “The Nightwatch” on the wall of his bedroom, le Mair was continually driven by the Rembrandt exhibit. He began to experiment with resins, pigments and oils in order to hone and perfect the technique of the old masters. He studied drawings and paintings and early on developed the feeling of color and composition. After completing high school, he worked for a short period as a designer of woven fabrics. Although his heart desired to paint, he enjoyed having a pencil and brush in hand and a case full of art books and says, “This treasure of inspiring information took me further on track to the traditional trade.” At this same time, le Mair’s artistic endeavors led him to learn the art of music. First learning to play the guitar from friends, he began performing at youth centers. This love of music expanded into him learning to play the mandolin, turning lye, banjo, and bagpipes. Just after his eighteenth birthday, le Mair was accepted into military service where his lack of conforming led him to a maximum solitary confinement sentence. After a month in training, the army physician and le Mair agreed that he was born to be an artist and released le Mair from military services. Once he returned home, with the encouragement from his parents, le Mair began his art schooling at the Art Academy (Kustacademie) in ‘s-Hertogenbosch, The Netherlands. There he found that the school was geared for modernism and after painting a portrait of a fellow classmate, his teachers advised le Mair to look for a school where the traditional ideas were still taught. Longing to study the classical arts, he applied and was accepted to the Academy of Fine Arts (Koninklijke Kunstacademie) in Antwerp, Belgium in 1965. After studying under Professor Victor Dolphijn, le Mair graduated cum laude in portrait and figure paintings in 1968. He was then promoted to study as a student of the Higher Institute, a structure at a higher university level where he studied under Rik Slabbinck...

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

French 19th century Fall River landscape, with later afternoon sunlight, Autumn trees and River bank flowers. William Baptiste Baird was born in Chicago, moving to Paris in the 1870s where he spent most of his working life. He exhibited both in Paris, at the Salon des Beaux-Arts and at the Royal Academy in London from 1877 to 1899. In 1877 he gave his address as 47, Bloomsbury Square, London; in 1879 as 20 Cheyne Row...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

This late 19th-century oil painting by British painter George William Mote (1832-1909) depicts a shepherd and his flock before an extensive view across the Surrey countryside near Gu...

This mid-19th-century oil painting attributed to Scottish artist William Clark of Greenock (1803-1883) depicts a fully-rigged British frigate sailing off Yarmouth and The Needles, Is...

In this exquisite work, painted around the time of the Great Fire of London in 1666, a beautiful young woman is wearing a green dress over a white chemise and a russet-coloured scarf...

Born in Cambridge, Massachusetts in 1891, John Gilmore Wolcott graduated from Harvard in 1914 and continued studies in art with Charles Woodbury. He was active in the Boston art scen...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

Adolphus Knell 19th-century English fishing boast at Sea. Owning in a 19th-century English fishing boat captured at sea circa 1880 by Adolphus Knell, with the sun rising or setting...