Henry Perronet Briggs Art

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

Oil on canvas 33 x 48 ½ inches; 840 x 1235 mm Painted c. 1793 Collections: George Romney; By descent to Elizabeth Romney (1832-1893), the artist’s granddaughter; Romney sale, Chris...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

Alexandre Ubelesqui (Paris, 1649 - 1718) Allegory of the Peace of Nijmegen Oil on canvas, unsigned 22 7/8 x 28 3/8 in 58 x 72 cm Provenance: Probably the sketch presented by the a...

"17th Century Flemish School Old Master Adoration of the Magi." Oil on canvas. Previously relined. Unsigned. Artwork: 81 × 61 cm (31.9 × 24 in.). 88 × 69 cm (34.6 × 27.2 in.). (Fra...

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Framed : h. 52.36 in, w. 47.63 in Charlotte de Hesse-Rheinfels (1714-1741), daughter of Landgrave Ernest-Léopold de Hesse-Rheinfels-Rotenburg and Éléonore de Lowenstein-Wertheim and Kazazyan, was Princess of Condé by her marriage in 1728 to Duke Louis-Henri de Bourbon-Condé known as Monsieur le Duc. The princess is portrayed seated on a canopy of gilded wood trimmed with raspberry red velvet, the body positioned facing forward while the face is turned three-quarters to the left. The face with a thoughtful and thoughtful gaze is awakened by its large gray eyes, the translucent skin with painted cheeks accentuates the effect of a melted execution of the model. Her powdered and tied hair is adorned with an orange veil which goes down on her shoulders. The separation fades between the powdered hair and the face. Dressed in a golden yellow satin dress embellished with multiple rows of white and black lace flounces at the bodice and sleeves, the neckline of her dress reveals her bare throat. The ermine coat lined with blue velvet is placed behind his shoulders, the sides of the coat come back to the front and are arranged in angular folds on his knees. With her right hand, arm bent at the elbow, she caresses her little dog, while the left arm resting on the armrest of the armchair is extended and the index finger of her open hand points to the right. The positions of the arms and the head generate an illusion of diagonal movement allowing to break the static character of portrait. This stretching of the arms horizontally is characteristic of Nattier's works, the figure thus grows in size in the painting by occupying a larger place there. This process carried out by highlighting the elegance of refined gestures increases the natural grace of the young woman. The sober architectural background is composed of a column draped with a green curtain and flattened pilasters with Ionian capitals. The light coming from the right partially illuminates the figure, leaving the left part in shadow. Illuminated, the young woman's dress reflects golden reflections in warm orange tones, while the velvet of the coat broken into angular folds reveals its surface through icy white ridges. This opposition only accentuates the volumes and textures of the fabrics. The facial features under a subtle effect of blurred appear more softened while the pearly white complexions seem illuminated with an inner radiance. Related works: Our work is a variant of the painting executed by Jean Marc Nattier...

Luca GIORDANO (Naples 1634 – 1705) The Judgement of Solomon, circa 1670 Oil on canvas 38 × 48 cm - Unsigned Collection stamp on the reverse depicting a Roman intaglio. The same ma...

17th century Flemish School, Saint Barbara This accomplished 17th-century Flemish oil painting depicts Saint Barbara, shown as a serene and powerful woman dressed in a luminous red gown, set against a warm, atmospheric background and proudly holding her traditional attribute; a tower. The invention of the present composition stems from 17th century Antwerp and was likely drawn by Theodoor van Thulden...

Provenance: Private Collection, Cranston, Rhode Island (by the 1950s?); by family descent until sold at: Bill Spicer Auction, North Kingstown, Rhode Island, 26 January 2011; where a...

Salvatore Postiglione (Naples, Italy, 1861 – 1906) Title: Pastime of a young lady from a good family Medium: Oil on canvas Dimensions: without frame 88.3 × 33.3 cm – with frame 115 x...

Created in 2003, this graphite drawing on paper perfectly illustrates Menachem Gueffen's exceptional command of line and his enduring dialogue with Cubism. The frontal female portrai...

“Reclining Nude, c. 1930” by Louise Nevelson (1899-1988) This wonderful original ink drawing highlights Nevelson’s interest in the early 20th century avant-garde. Inspired by Picass...

This tender mid-18th-century Sevillian oil painting depicts the Virgin Mary as La Divina Pastora, the Divine Shepherdess. Attired in a straw hat, decorated with flora, she rests in...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...