Justus Sustermans Art

The Pilgrim and Angel Spanish School, 17th Century oil on canvas, gilt framed framed: 48 x 37 inches canvas: 43 x 32 inches provenance: private collection, Barcelona, Spain condition...

Johann Boeckhorst (Münster 1604 - Antwerp 1668) Saint Ursula Oil on canvas, 112 x 86 cm Provenance: New York, Christe's, 20.3.1981, lot 88 (as Van Diepenbeeck's circle) The presen...

Oil on canvas, 62 x 51 cm (without the frame) Even if on the background there is an attribution to “Francesco Gessi pupil of Guido Reni” by the bolognese art historian Guido Zucchini (dated 1945), recent studies are tending to add it to the corpus of Girolamo Negri called Il Boccia (Bologna 1648-1718) due to lots of similarities with his style (the pale and warm palette chosen, the profile) The painting represents a lady on profile wearing a brown turban, a yellow clock...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Erasmus Quellinus The Continence of Scipio Oil on Canvas The painting is included in the Catalogue Raisonné of the artist. The Roman commande...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...