Dorothy Dudley Paintings

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

"Portrait of Frederick Hendrick, Prince of Orange-Nassau" - After Michael Jansz. van Miereveldt Dutch Golden Age royalty copy oil on canvas of van Miereveldt's iconic portrait. Excep...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

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...

Rene Genis (French 1922-2004) "L'Enfant Au Foulard Violet” The Child With The Purple Scarf. A beautiful portrait of a young man in a purple scarf against...

Roland Strasser (1895-1974) "Japanese Geisha" Signed lower right Oil and gold leaf on canvas, measures: 76 x 46 cm In fine white-wash wood frame. ...

Oil on canvas 50 x 40 inches; 127 x 101.6 cm Framed dimensions: 151.5 x 127 cm Inscribed on plinth: ‘VOTIS X ET XX’ Not signed Painted c.1748 Collections: Christie’s London, 23rd December 1954, lot.272; J. Singer; Somerville & Simpson Ltd, London, by 1985; The Matthiesen Gallery, London; Richard Feigen, New York; Matthew Rutenberg, New York to 2019; Lowell Libson and Jonny Yarker Ltd. Literature: Stella Rudolph, La Pittura del’ 700 a Roma, Milan, 1983, reproduced pl.133; Jacob Simon, Handel, a celebration of his life and times 1685-1759, exh. cat. London, (National Portrait Gallery), 1985, no.196; Catherine Whistler, Baroque & Later Paintings in the Ashmolean Museum, London, 2016, pp.102-105, reproduced p.104 Exhibited: London, National Portrait Gallery, Handel, a celebration of his life and times 1685-1759, 1985-86, no.196, reproduced p.198 This powerful portrait of the antiquarian and courtier Sir Charles Frederick was completed in 1748 by the Roman painter Andrea Casali. Frederick, as comptroller of the royal laboratory, one of the ‘great officers’ of the Board of Ordinance at Woolwich, had just been responsible for the famed pyrotechnic display celebrating the Peace of Aix-la-Chapelle: the so-called ‘Royal Fireworks’ for which George Frederick Handel composed music. Casali’s portrait pays tribute to Frederick’s role as comptroller of the royal laboratory, showing him with a firing diagram and mortar, it also points to Frederick’s interests as an antiquarian with the inclusion of antique relief. Casali had first met Frederick in Rome in 1738, where he had painted his portrait, Frederick subsequently encouraged Casali to travel to London. This probably accounts for the unusual format; rather than a modern man of science, Casali casts Frederick as an alchemist bent on some mystic discovery, as such, it is one of the most unusual portraits of the period. Andrea Casali was a pupil of Sebastiano Conca and then of Francesco Trevisani, who recommended him to the Spanish court in 1736. He enjoyed some success in Rome as a painter of frescoes and altarpieces, notably a large cycle of Scenes from the Life of St Dominic at the cloister of S. Sisto Vecchio, for which he was made a Knight of the Golden Spur in 1729. Casali began painting Grand Tourist portraits in Rome around 1738. His first portrait of Sir Charles Frederick is dated that year Ashmolean Museum, Oxford), it casts Frederick as a focused scholar, showing him seated at an elaborately carved console table, hard at work. In common with other Grand Tour portraiture of the period, Casali includes a famous Roman landmark in the background, in this case the façade of the Pantheon. Horace Walpole noted that it was thanks to the encouragement of ‘Mr Frederick and his Friends at Rome’ that Casali travelled to London in 1741. Charles Frederick was a fascinating Augustan polymath. Born at Fort St George, Madras, where his father, Sir Thomas Frederick, was governor, he successively matriculated at New College, Oxford (1725), was called to the Middle Temple (1728), became a Fellow of the Royal Society (1731) and Director of the Society of Antiquaries (1735). His interests were wide ranging. Frederick was an amateur architect, he designed the monument to Lucy, Lady Lyttleton, in Hagley Church and the monument to Thomas Miller, bishop of Waterford, in Highclere church, Hampshire. He was a numismatist and collector of antiquities, as well as an amateur scientist. It was in the last capacity that he was appointed comptroller of the royal laboratory at Woolwich and clerk of the deliveries in 1746, this was the most junior of the ‘great officers’ who made up the membership of the royal Board of Ordnance. This appointment came through the good offices of the master-general of the Ordnance, a fellow antiquarian, John, 2nd Duke of Montagu. As comptroller, Frederick was responsible for the fireworks celebration of the treaty of Aix-la-Chapelle, for which Handel composed his celebrated music. As Horace Walpole wrote to his cousin, Henry Seymour Conway: ‘Charles Frederick has turned all his virtu into fireworks, and, by his influence with the Ordnance has prepared such a spectacle for the proclamation of Peace as is to surpass all its predecessors of bouncing memory. It is to open with a concert of fifteen hundred hands, and conclude with so many thousand crackers all set to music, that all the men killed in the war are to be wakened with a crash, as if it was the day of judgement, and fall a-dancing, like the troops in the Rehearsal. I wish you could see him making squibs of his papillotes, and bronzed over with a patina of gunpowder, and talking himself still hoarser on the superiority that his fireworks will have over the Roman naumachia.’ Performed in Green Park, the fireworks were mounted on a temporary structure designed by the architect Giovanni Niccolò Servandoni decorated by Adrea Soldi and Casali. Casali’s second portrait of Frederick was completed following the success of the firework display. In this remarkable image, we discover Frederick at work, dressed in almost monastic garb, pouring over an impossibly large tome propped on an antique altar. The altar is identifiable as a Roman relief depicting Victory writing on a shield, the original is at Villa Medici in Rome, but was engraved by Pietro Santi Bartoli...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

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...

David Finsonius (Veere 1597- Bergen op Zoom 1646/1648) Portrait of a girl with a rose and a red coral necklace With traces of the artist’s signature and annotated AETATIS S.V. 2 1⁄2 Ao 1631 Oil on panel, H. 104.5 x 79.5 cm Provenance: Purchased by Jonkheer Helenus Marius Speelman (1857-1909), Kasteel de Wittenburg; thence by descent The work shows a strong resemblance to a portrait by Finsonius in the North Brabant Museum. This signed and dated "Girl with Basket and Cherries" (Inv. 15529), was painted just a year later, in 1632. Not only are the paintings remarkably similar in overall size and format, in painting style, and in the positioning of the girls in full length in their white lace dresses. They are also connected by the iconographic scheme of the respective coral necklaces, each with a gold memorial medal hanging from it. Although they are of course individuals, the faces are very similar in their depictions of features such as eyes, nose, and lips. This points to the same technique applied by the same painter. Finally, the handwriting is almost the same on the works by Finsonius known so far. About the painter, David Finson named 'Finsonius' (related to the better-known Louis Finson...

Oil on unlined canvas, stamped 26 x 21¼ inches; 66.5 x 54 cm Framed dimensions: 95.5 x 83.5 cm ‘Wood & Co 190 Brompton Road London SW’ Signed with monogram and dated ‘1878’, centr...

A Wonderful Oil on canvas by Andrei Belichenko & Maria Boohityarova. Two excellent Russian artists who have been exhibiting in France, their works are centred around exquisite detail...