(circle of) Nicolas de Largillierre Art
French, 1656-1746
Nicolas de Largillière or de Largillierre (Paris, 10 October 1656 - Paris, 20 March 1746) was a French painter.
Raised in Antwerp, where his family had moved in 1659, it was in the Flemish city that he began his apprenticeship in the workshop of Antoine Goubeau starting in 1668, mainly influenced by Rubens and the Flemish masters. [He entered the guild of the Sint-Lucasgilde as master of the city in 1674.
From 1675 to 1679 he traveled to England, where he approached the Vandyckian painter Peter Lely and was noticed by King Charles II. He will return there in 1685 to paint a portrait of the new King James II.
Returning to France, after 1689 he became one of the most sought-after painters, both for official ex-votos or allegories, and for orders of portraits by the nobility and the upper middle class. Nicolas de Largillière was, together with Rigaud, the portrait painter of the Regency era. He also proved to be a brilliant painter of still lifes, following the Flemish school.
To the solemnity of the gesture of the person portrayed he combined an uncommon search for minute details.
In 1686 he was admitted to the Académie royale de peinture et de sculpture, becoming a professor in 1705 and directing it from 1736 to his resignation in 1743.
Among his most important works we can mention: Portrait of Elizabeth Beaubarnais (Museum of Grenoble); Young Man as Diana (Louvre Museum); Ex-voto in Sainte-Geneviève (church of Saint-Étienne-du-Mont, Paris); Family portrait of Louis XIV (Wallace Collection); Portrait with the family (Louvre Museum).to
1
Overall Width
to
Overall Height
to
1
1
1
1
1
1
1
1
1
1
1
1
8,199
2,807
2,504
1,663
1
1
Artist: (circle of) Nicolas de Largillierre
"Mme de Noirmont", Oil on Canvas Portrait, circa 18th Century
By (circle of) Nicolas de Largillierre
Located in Detroit, MI
This painting titled "Mme de Noirmont" is an oil on canvas work from the studio of Nicolas de Largilliere, one of the most prolific and esteemed French portrait painters of the 18th ...
Category
18th Century (circle of) Nicolas de Largillierre Art
Materials
Canvas, Adhesive, Oil
Related Items
“Enfant A La Collarette” The Child in the Collar.
By René Genis
Located in Berlin, MD
Rene Genis (French 1922-2004) “Enfant A La Collarette” The Child in the Collart. Portrait of a disturbing young man with a rather defiant, petulant look in his expression. Dark eye...
Category
Mid-20th Century (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil, Laid Paper
Portrait of a Gentleman
Located in New York, NY
Circle of Jacques-Louis David
(French, 18th Century)
Provenance:
Private Collection, Buenos Aires
Exhibited:
“Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019.
This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...
Category
18th Century Old Masters (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Madonna and Child with Angels in the Clouds
Located in New York, NY
Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to:
Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to:
The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by:
John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to:
The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015
Exhibited: Trianon Art Museum, Denver (until 2004)
The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort.
Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...
Category
18th Century and Earlier (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
"Femme et Homards" (Woman with Lobsters), 1948 -André Minaux (French, 1923-1986)
By Andre Minaux
Located in Berlin, MD
Behold a mid-century marvel by André Minaux, a titan of the French School whose stylized Social Realist visions continue to captivate the art world. Painted in 1948, “Femme et Homard...
Category
Mid-20th Century French School (circle of) Nicolas de Largillierre Art
Materials
Cotton Canvas, Oil
H 62.25 in W 43.5 in D 3 in
Saint Martin de Porres
Located in New York, NY
Provenance: Private Collection, New York, until 2022.
Martín de Porres was born in Lima in 1579, the illegitimate son of a Spanish-American father, J...
Category
Late 18th Century (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Portrait of a Gentleman
By Ippolito Scarsella (Scarsellino)
Located in New York, NY
Provenance: Suida-Manning Collection, New York
Private Collection
Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31.
Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972
Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese
Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill.
Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese
Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese.
Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop)
John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese.
Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino.
The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...
Category
18th Century and Earlier Baroque (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Portrait of George and Edward Finch-Hatton in Van Dyck Dress
By David Martin
Located in New York, NY
Appointed Portrait Painter to the Prince of Wales in Scotland in 1785, David Martin was the leading Scottish portrait painter of his generation. The artist is best known in the United States for his portrait of Benjamin Franklin, which is in the White House collection, Washington, D.C. The sitters depicted in this double portrait were the sons of the British diplomat Edward Finch-Hatton. George (1747-1823), later of Eastwell Park, Kent, is shown seated, reading an ancient charter or medieval manuscript...
Category
18th Century and Earlier (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Three Angels
By Domenico Piola the Elder
Located in New York, NY
Provenance:
Robert L. and Bertina Suida Manning, New York, until 1996
Private Collection, USA
One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day.
As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings.
The present work depicts three angels...
Category
17th Century Baroque (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Portrait of Laura Keppel, later Lady Southampton
By Sir John Hoppner
Located in New York, NY
Inscribed, upper left: “Miss Laura Keppel”
Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to:
Major Bertram William Arnol...
Category
18th Century (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Isa, Génie, Catou, Patoche and Didine - Julien Wolf, 21st Century, Painting
By Julien Wolf
Located in Paris, FR
Oil on canvas
2018
Signed on the back
Unique work
Category
2010s Expressionist (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
Recovery - Julien Wolf, 21st Century, Contemporary Expressionist Painting
By Julien Wolf
Located in Paris, FR
Oil on canvas
2019
Signed
Unique work
Julien Wolf is a French painter who was born in Strasbourg in 1981, France.
He graduated in 2007 at the DNSEP Art and Decorative Art section...
Category
2010s Expressionist (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
H 53.15 in W 42.13 in D 1.97 in
Misunderstanding in the tall grass Timothy Archer 21st Cent. Contemporary paint
By Timothy Archer
Located in Paris, FR
Oil paint and pastel on canvas
Hand-signed and dated lower right by the artist
Category
2010s Contemporary (circle of) Nicolas de Largillierre Art
Materials
Oil Pastel, Oil, Canvas
H 66.93 in W 86.62 in D 1.97 in
Previously Available Items
17th Century French Portrait of a Gentleman; Fine Frame
By (circle of) Nicolas de Largillierre
Located in London, GB
This item has a long and interesting provenance. This work formed part of a collection of pictures from the antiquaire André Coltée Ducarel (1713-1785). It descended through the Coltée Ducarel family the Palmer Baronets for over 300 years.
This half-length portrait depicts a gentleman believed to be an ancestor of André Coltée Ducarel (1713-1785). The sitter is wearing a Japanese rok which was a type of banyan of rich brocaded silk, a crisp white lace cravat and silk bows. These garments were at the height of fashion in 1680's France. The banyan was commonly worn indoors (sometimes called an Indian or Persian gown due to their Eastern origin and Oriental cut) when visitors were met. Although very comfortable they were highly respectable and quite splendid (often made from brocades, velvets and silks, with elegant masses of fabric protecting against the cold or draughts). These garments and the full bottomed wig would have cost a fortune.
The popularity of wigs was immense and this intensified the demand for them so much that natural hair became a valued commodity. Dealers in hair arose in all quarters and there are accounts in France that every peasant girl was trying to sell her hair. Unfortunately wig theft became common.
The delicate modelling of the face and the sophisticated handling of the garments, notably the cravat, is indicative of a talented artist who excelled at the oil technique of painting. Presented in a good quality gilded antique frame.
Provenance: The portrait has descended through the Coltée Ducarel family and Palmer Baronets for over 300 years:-
• André (Andrew) Coltée Ducarel (1713-1785), Doctor of Civil Law in 1742, English antiquary, archivist, and librarian at Lambeth Palace, m. Sarah Desborough (1696-1791) and then to:
• the son of his deceased youngest brother Gérard Gustavus Coltée du Carel (1745-1800), Marquis du Carel, Governor of Bengal m. daughter of the Maharajah of Purnea, and then to their son:
• Philip John Ducarel (1778-1855) of Newland, Gloucestershire m. Catherine Jane Hyde Shawe (1786-1802) and then to:
• his sister Mary's niece Elizabeth Julian Fench Simpson m. Charles Archdale Palmer (1813-1860), and then to their son:
• Sir Frederick Archdale Palmer, 6th Baronet Palmer (1857-1933), and then to their son:
• Sir John Archdale Palmer, 7th Baronet Palmer (1894-1963), and then to their son:
• Sir John Edward Somerset Palmer, 8th Baronet Palmer (1926-)
André (Andrew) Coltée Ducarel was born in Paris. His parents, Jacques Coltée Ducarel (1680-1718) and Jeanne Crommelin (1690-1723), were Huguenots from Normandy. Jacques was a banker and merchant, who achieved ennoblement in 1713 with the title Marquis de Chateau de Muids. He died in 1718, just as a new wave of Huguenot persecution was beginning, and in 1719 Jeanne fled with her three infant sons to England where they settled in Greenwich. There, Jeanne married her second husband, Jacques Girardot, another Huguenot. Andrew was sent to be educated at Eton and he later matriculated at Oxford from Trinity College, and graduated as a Bachelor of Civil Law. He was created Doctor of Civil Law in 1742 before being admitted a member of the College of Advocates at Doctors' Commons in 1743, and afterwards served as librarian there 1754-7, and as treasurer 1757-61. Ducarel was a fellow of the Society of Antiquaries of London, and he was one of the first fellows of the society on its incorporation in 1755. He was a fellow of the Royal Society of London. He was keeper of Lambeth Palace Library; a post that he remained in for nearly 30 years. He published a number of his own works. For many years Ducarel went on an antiquarian tour through different parts of the country, attended by a coachman and footman. They travelled about fifteen miles a day, and put up at inns. After dinner, Ducarel transcribed his topographical and archaeological notes. In 1752, he undertook a tour of Normandy and through his publications he effectively put Normandy on the map for the late 18th-century English traveller. He was one of the first Englishmen to see and appreciate the significance of the Bayeux Tapestry, and included the first detailed description in English as an appendix to Anglo-Norman Antiquities.
The work later passed to Sir Frederick Archdale Palmer, 6th Baronet Palmer (1857-1933). This branch of the Palmer Baronetcy, family seat Wanlip Hall in the County of Leicester, was created in 1791 for Charles Grave Hudson, a Director of the South Sea Company and High Sheriff of Leicestershire in 1784. Today, the heir apparent is Robert John Hudson...
Category
17th Century Old Masters (circle of) Nicolas de Largillierre Art
Materials
Canvas, Oil
(circle Of) Nicolas De Largillierre art for sale on 1stDibs.
Find a wide variety of authentic (circle of) Nicolas de Largillierre art available for sale on 1stDibs. You can also browse by medium to find art by (circle of) Nicolas de Largillierre in canvas, fabric, oil paint and more. Much of the original work by this artist or collective was created during the 18th century and earlier and is mostly associated with the Old Masters style. Not every interior allows for large (circle of) Nicolas de Largillierre art, so small editions measuring 22 inches across are available. Customers who are interested in this artist might also find the work of Sir Godfrey Kneller, Flemish School, 17th Century, and George Morland. (circle of) Nicolas de Largillierre art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $2,582 and tops out at $12,000, while the average work can sell for $7,291.