$15,102
Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield
By Charles Jervas
Located in Liphook, GB
Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...
Canvas, Oil
$1,133
H 27.56 in W 19.69 in D 0.79 in
"Sensuality" ( contemporary figurative expressive colorful woman oil on canvas)
Located in VÉNISSIEUX, FR
This artwork makes part of my new period in my artistic expression. This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transfor...
Canvas, Oil, Oil Pastel
$1,014Sale Price|29% Off
H 28.75 in W 23.63 in
Woman in White, Fauvist Oil on Canvas Portrait, Framed, Circa 1940s
By Ignasi Mundó
Located in Sitges, Barcelona
Ignasi Mundó Marcet (1918-2012) - woman in white - Oil on canvas Canvas measures 73x60 cm. Frame size 76x63 cm. MUNDO Ignasi Ignasi Mundó trained at the School of La Lonja, with Joa...
Canvas, Oil
$1,014
H 24.02 in W 19.69 in D 0.6 in
Contemporary expressive figurative portrait oil painting of a woman on canvas
Located in VÉNISSIEUX, FR
This contemporary figurative painting "Embrace your strengths" featuring a woman with long black hair wearing a dark blue blouse on a red background makes part of my series dedicate...
Canvas, Oil
Portrait of a Female Nude
Located in Astoria, NY
Leo Feldman (American, XX), Portrait of a Female Nude Figure, Oil on Canvas, signed on top edge and verso, unframed. 30" H x 24" W. Provenance: From the Allen Tucker Memorial Colle...
Oil, Canvas
$169,000
H 34 in W 54 in
18th century diptych portraits man and woman American formal dress flower
By William Jennys
Located in Milwaukee, WI
The present pair of portraits would make an exceptional addition to any collection of early American art not only because they were painted by the notable William Jennys, but also because the sitters are members of notable and influential New England families. In addition, these pendants have impeccable provenance: they have never left ownership of the decedents of the Kimball family and this is the first time they have been available for purchase. David Kimball (1766-1848) and Nancy Stacy Kimball (1774-1844) were members of historic Massachusetts families. David Kimball is a sixth-generation decedent of Richard Kimball (d. 1675) and Ursula Scott (d. 1659), who emigrated from Rattlasden, Suffolk County, England to Watertown MA around 1634. The family then relocated in 1637 to Ipswich, the city with which the family is now most strongly identified, when Richard was appointed to be a wheelwright.[1] Nancy likewise had early New England ancestry, descended from Simon Stacy and Elizabeth Clark, who were married in London in 1620.[2] Nancy Stacy was the second wife of David Kimball, and the two were married in 1799. Given this, the present pendant portraits were likely completed shortly after the marriage. David had two children by his first wife Mary Morse, who died in September of 1798. David and Nancy would have nine additional children between 1801 and 1815.[3] Most notably, the couple were parents of the Boston politician and showman Moses Kimball (1809-1895).[2][3] Moses would found the Boston Museum, an early for-profit museum and theater opened in 1841 that resembled European curiosity cabinets: the museum displayed paintings of Thomas Scully and Charles Peale alongside Chinese artwork, stuffed animals, dwarves and mermaids. Alongside these exhibits, visitors could attend the theater which held performances by gymnasts and contortionists, followed by performances of Shakespeare and Dickens.[4] This museum set the model for the Museum of Fine Arts, Boston, which when founded in 1870 held a similarly diverse collection and appealed to the interests of a diverse set of visitors.[5] Moreover, some Greek antiquities from Moses Kimball's museum were eventually given to the MFA and Moses donated approximately $5,000 to the MFA's endowment upon his death.[6][7] William Jennys (1774–1859), also known as J. William Jennys, is an important American primitive portrait...
Oil, Canvas
$1,014Sale Price|43% Off
H 21.66 in W 18.12 in
Post-Impressionist Oil Painting of Woman by the Sea, 21st Century
Located in Sitges, Barcelona
Frame size 69x60 cm.
Oil, Canvas
$9,500
H 31.5 in W 26.25 in D 1.5 in
“Guitar Player in Recife, Brazil, 1886” Pernambuco Brazilian Coast Oil Signed
Located in Yardley, PA
“Guitar Player in Recife, Brazil, 1886” by Ferdinand Piereck (1844-1925) An extremely rare 19th century painting of a Brazilian guitarist by Austrian-Brazilian artist Ferdinand Pier...
Canvas, Oil
$2,263
H 29.93 in W 22.05 in
Portrait of a Lady with Red Fan, Oil on Canvas, Circa 1945
Located in Sitges, Barcelona
Artist: Francesc Domingo i Segura (Barcelona, 1893 – São Paulo, 1974) Title: Portrait of a Lady with Red Fan Technique: Oil on canvas Dimensions: 76 × 56 cm (29.9 × 22 in), unframed Signature: Signed lower left “F. Domingo” Estimated Date: ca. 1945–1955 Provenance: Private collection Condition Report: Homogeneous superficial craquelure across the surface, especially in the background; varnish possibly not original, with slight yellowing. No paint losses or visible dirt. Canvas stable and well-stretched. DESCRIPTION This female portrait depicts a distinguished woman dressed in a floral-patterned gown in green and pink tones, holding a red fan that provides contrast and character to the composition. The sitter, with a serene expression and a slightly melancholic gaze, is softly illuminated, highlighting the texture of her hair and the delicacy of her skin. The work exemplifies Francesc Domingo’s mature style, where his academic beginnings merge with a livelier palette and touches of modernity, particularly visible in the treatment of patterns. The pink background, with loose brushwork and an almost abstract texture, enhances the sitter’s presence. ARTIST BIOGRAPHY Francesc Domingo i Segura (Barcelona, 1893 – São Paulo, 1974) was one of the most versatile Catalan painters of the 20th century. Trained at the Escola Superior de Belles Oficis of the Mancomunitat, he began in the Noucentisme movement and later traveled to Paris, where he absorbed the influence of Cézanne, Cubism, and modern currents. In the 1930s, he cultivated social realism with scenes of Barcelona’s Paral·lel district and the working-class world. After the Spanish Civil War, he went into exile in Latin America, residing first in Buenos Aires and later in São Paulo, where he taught printmaking and co-founded the Grupo Bisonte. His work, with both European influences and local echoes, is represented in museums such as the MNAC and in international collections. SIMILAR ARTISTS For his focus on portraiture and the fusion of academicism and modernity, Francesc Domingo can be compared with: Ricardo Macarrón...
Canvas, Oil
$453
H 19.69 in W 19.69 in D 0.48 in
"Love.Life.Summer" ( painting of a woman on the beach)
Located in VÉNISSIEUX, FR
This artwork makes part of my new period in my artistic expression. This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transfor...
Oil, Canvas
$429Sale Price|55% Off
H 13.39 in W 9.85 in
Old Man Portrait Painting, Baroque Style, Oil on Board, Circa 1920s
Located in Sitges, Barcelona
Anonymous - Old man - Oil on board Oil size 34x25 cm. Frameless
Canvas, Oil
$262
H 11.03 in W 7.88 in D 0.6 in
Abstract expressionist portrait of Frida Kahlo oil canvas "Frida without fear"
Located in VÉNISSIEUX, FR
"Frida without fear" is a contemporary, faceless abstract portrait of Frida Kahlo by French artist Natalya Mougenot. Blending elements of impressionism and expressionism, the work re...
Cotton Canvas, Oil
$2,263Sale Price|34% Off
H 28.75 in W 23.63 in
Girl Studying, Oil on Canvas, Post-Impressionist, Circa 1960, Unframed
By Francesc Serra Castellet
Located in Sitges, Barcelona
Francesc Serra Castellet (1912-1976) - Girl - Oil on canvas Oil measurements 73x60 cm. Frameless. Biography: Francesc Serra Castellet. Barcelona 1912 - Tossa de Mar (Girona) 1976. ...
Canvas, Oil
Sold
H 58.27 in W 48.04 in D 3.15 in
Portrait of Frances, Viscountess Scudamore in a Silver Dress & Blue Cloak
By Charles Jervas
Located in London, GB
Portrait of Frances, Viscountess Scudamore in a Silver Dress and Blue Cloak c.1709-1719 By Charles Jervas (1675-1739) This elegant and graceful portrait, presented by Titan Fine Ar...
Canvas, Oil
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H 58 in W 48 in D 3 in
Portrait of a Man possibly Arthur Viscount Irwin, Temple Newsam Oil on canvas
By Charles Jervas
Located in St. Albans, GB
Charles Jervas Possibly Arthur, 6th Viscount Irwin (Temple Newsam) Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Cl...
Oil
Sold
H 58 in W 48 in D 3 in
Portrait of a Lady possibly Frances Thynne, Lady Worsley 1673-1750 Oil on canvas
By Charles Jervas
Located in St. Albans, GB
Charles Jervas Possibly Frances Thynne, Lady Worsley 1673-1750 Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Clonli...
Oil
Sold
H 60.24 in W 50.4 in D 3.15 in
Portrait of Hannah Clements as a Shepherdess c.1730; by Charles Jervas
By Charles Jervas
Located in London, GB
This elegant and graceful portrait is said to represent Hannah Clements (1710-1781) nee Gore. Painted by Charles Jervas - who was in 1723 appointed to the post of King’s Painter by George I and in 1725 to George II - it is one of his finest and most impressive examples. Jervas was considered the supreme practitioner of female portraiture in the 1720s and 1730s, and was the foremost successor to Sir Godfrey Kneller after the latter's death in 1723. Presented in an outstanding carved and gilded antique frame, a remarkable work of art in itself. The sitter is captured in a moment of relaxation in a country landscape. Jervas continued the idiom of Sir Godfrey Kneller, his master, whilst introducing a new ease and suggestion of informality into his portraits. By depicting the sitter within the landscape with sheep Arcadian simplicity is being suggested. This draws from the tradition of pastoral literature and by the early 17th century was already popular in art; all educated individuals were familiar with Latin and Greek pastoral poetry. The mythological world of Arcady was an idyll that the ladies and gentlemen of the Court could inhabit in the guise of shepherds and shepherdesses. The pastoral tradition in literature and plays had been embraced by an aristocratic class since classical times. Life in the country was perceived as peaceful, contemplative and free of worry of hardships, a time to pursue pleasure. To be painted in such a manner created a tangible expression of power and wealth. When the portrait was painted the pastoral was so ingrained that the mere inclusion of such elements suggested Arcadia to the viewer. And this is further emphasised by painting the light to reflect sunset and the suggestion of tranquillity. Of course, the sitter did not live in such a place and this masterful painting was a flight from chaos to a tranquil world. Hannah Catherine Clements (nee Gore) (1710-1781) was the daughter of Rev. William Gore (and granddaughter of Sir William Gore, 3rd Baronet), and Honora Prittie. She married Nathaniel Clements (1705-1777), an important Irish politician and financial figure, in January 1730. Nathaniel became the main financial manager of the British and Irish Government in Ireland during the period, and was de facto Minister for Finance from 1740 to 1777. He had an extensive property portfolio, including Abbotstown, County Dublin, estates in County Leitrim and County Cavan and was developer of property in Dublin, including part of Henrietta Street where he lived at No. 7 from 1734 to 1757 in what was described as “Parisian luxury”. The couple had six children. Charles Jervas was born in Clonliske in Kings Country, Ireland in 1675. He received his artistic training in Kneller’s studio and was later, by the 1690’s, Kneller’s assistant. According to Vertue Jervas made small copies of the Raphael cartoons, then at Hampton Court, in about 1698 and sold them to Dr George Clarke of All Souls, Oxford who lent him £50 to embark on the then essential ‘grand tour’ in 1699. Taking in Paris and settling in Rome by 1703, he furthered his artistic training and became a voracious copyist of the old masters. George Vertue noted that he was known as “Carlo Jervasi” and was a “good, engenious painter”. On his return to London in 1709 Tatler (15th April 1709) remarked that he was 'the last great painter Italy has sent us' and noted that he “painted many ladies as shepherdesses and country girls”. The style that he cultivated made him Kneller's natural successor when that artist died in 1723. In 1727 he married a widow, Penelope Hume, a lady of considerable means (£20,000). In September 1738 he travelled to Italy seeking some reprieve from his asthma, returning in May 1739. He died in November that year and bequeathed £1000 to his friend, Pope, should he outlive his widow: this did not happen as she survived until 1747. The following spring his considerable art collection was sold in 2265 lots in a sale lasting 9 days. Apart from royalty Jervas gained the patronage of many of the ruling and intellectual elite. He moved in the highest circles of the literary and social world and became an intimate of Sir Robert Walpole and the poet Alexander Pope, to whom he gave drawing lessons. Jervas’ portrait of Elizabeth Felton, of Playford, Later Countess of Bristol (1677-1741) realised £45,410 at Christies London 11th June 2002, lot 13. His portrait of Lady Barbara North realised £42,050 at Christies London 11th July 2008, lot 55. Titan Fine Art are pleased to offer this work, which is representative of the artist’s best work. Provenance: Private collection, Beal House...
Canvas, Oil