Henry Raeburn (circle) Art

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame 53 x 44 cm. It is easy to identify the sitters of this charming pair of portraits in the rulers of France, namely Louis XV of Bourbon, who ascended the throne in 1715 at the age of just thirteen and was nicknamed the 'Beloved', and Maria Leszczyńska, Queen Consort of France and Navarre and daughter of the King of Poland Stanislaus I. The queen is depicted in a three-quarter-length figure, her face smiling and turned towards the spectator. She wears a wig in shades of grey with her hair gathered around the nape of her neck and a diadem on her head, and pendants on her ears. She wears a dress with a wide neckline made of red velvet, brocaded with gold threads, with rich lace sleeves, and a bodice adorned with a jewelled bodice of diamonds and pearls. On the shoulders rests a blue velvet mantle embroidered with the heraldic...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...

Tuscan painter active towards the end of the 16th century Portrait of Captain Niccolò Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola. Tuscany, end of the 16th century Oil on canvas, 64 x 47 cm., Framed 89 x 73 cm. The portrait we present to you shows the effigy of a vigorous high-ranking male figure in armor, in the most typical Renaissance pose, half-length and taken in profile, with his face and gaze turned to the side; the serious and intense expression and the facial features evoke at first glance the portraiture of early Florentine mannerism. He is Niccolò III Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola and son of Aldobrandino Orsini, famous leader and captain (or capitano di ventura) who lived between the fifteenth and sixteenth centuries, who served for the state Pontifical in Naples and Florence and above all for the Republic of Venice. Portraiture with these characters, which derives from ancient coinage, was used in the sixteenth century in the sequences of Portraits of Illustrious Men, both in painting and in sculpture. The profile portrait was in fact a genre reserved, according to the Renaissance tradition, for celebrations, presenting those characteristics of imperturbability typical of the military role covered. Our painting is a work created by an author active in Tuscany towards the end of the sixteenth century, adhering to those pictorial styles made famous by the portraitist Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then of Pontormo, known for having created a collection of about 500 portraits of illustrious men, known as the 'Gioviana Series' (now in the Uffizi Gallery); and among these it is possible to identify one dedicated to Niccolò Orsini. Our painting is inspired, in particular, by a print taken from the collection of prints...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) - workshop of Portrait of Bianca Cappello (Venice, 1548 - 1587) Grand Duchess of Tuscany, second wife of Francesco I de 'Medici Second half of the 16th century oil on canvas, cm. 70 x 56 cm., Framed 103 x 87 cm. The proposed painting illustrates the portrait of Bianca Cappello (Venice, 1548 - 1587), a noblewoman of Venetian origins, second wife of the Grand Duke of Tuscany Francesco I de 'Medici, whose expressive power is wisely highlighted by the composite cut of light three quarters, with the head and gaze directed at the observer. The beam of light coming from her right brings out the volumes of her face plastically and lingers on her features, highlighted by the large white lace ruff that surrounds his neck and by the details of her precious clothing. Bianca wears a dark red dress, perhaps a zimarra, embroidered in gold with a plunging neckline and a raised collar of the shirt curled in a ruff and also edged with precious lace, embroidered with the motif of the Florentine lily.   The favorite jewels of the noblewoman were pearls: we see them on a choker that adorns the neckline, in the earrings and again in the hairstyle, which sees the hair gathered at the nape of the neck and adorned with a string of small black pearls and embellished with a clasp. It is a high-quality painting that can be confined to the workshop of the painter Scipione Pulzone called Gaetano, representing at best a pictorial genre, that of portraiture, in which the master excelled. This attribution would be confirmed by comparisons with the numerous portraits that Pulzone dedicated to the Medici family. Our painting, in particular, could represent one of the versions that the workshop has replicated, at the request of the numerous art collectors who wish to have a portrait of one of the most influential personalities of the Florentine scene. The characters drawn by Pulzone were icons of incomparable elegance: noblewomen, knights and religious lent their faces to the eye of the artist who was able to grasp every meticulous detail with his superb technique. A photographic wealth and surprising material attention that trace the pictorial prototypes of Flemish inspiration, in particular of Antonis Mor...

The Annunciation Circle of Paolo De Matteis (Piano Vetrale, 1662 - Naples, 1728) oil painting on canvas (106 x 90 cm - with frame 118 x 103 cm.) The work,...