Nicolaes Maes was a Dutch Golden Age painter of genre and portraits. He was born in Dordrecht, the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648, he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653, Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of color, like The Reverie at the Rijksmuseum in Amsterdam, The Card Players at the National Gallery, and The Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655–65, Maes devoted himself to the domestic genre on a smaller scale, retaining to a great extent the magic of color he had learned from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. Maes had a particular fascination with the subject of lacemaking and made almost a dozen versions on this subject. While he continued to reside in Dordrecht until 1673, when Maes settled in Amsterdam, he visited or even lived in Antwerp between 1665–67. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. His registered pupils were Justus de Gelder, Margaretha van Godewijk, Jacob Moelaert, and Johannes Vollevens. Maes died in Amsterdam. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is The Inquisitive Servant of the Six collections. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover, Ottawa and Munich galleries.
$24,355
Portrait of an Elegant Lady in a White Satin Dress, signed and dated 1669 Maes
By Nicolaes Maes
Located in London, GB
Portrait of an Elegant Lady in a White Satin Dress, signed and dated 1669 Attributed to Nicolaes Maes (1634–1693) Radiant in condition and impressive in scale, this refined three-qu...
Canvas, Oil
$7,055
H 33.5 in W 29.5 in D 2.25 in
18th Century portrait oil painting of a lady in an ermine trimmed cloak
By Sir Godfrey Kneller
Located in Nr Broadway, Worcestershire
Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...
Canvas, Oil
$21,685
H 31.89 in W 25.6 in D 0.4 in
18th century French Old Master Portrait of a woman in oriental costume
Located in Aartselaar, BE
French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...
Canvas, Oil
$4,688
H 15.36 in W 12.21 in
Young Girl with a Basket of Fruit, Oil on Canvas, French, Circa 1790
By Jean-Baptiste Greuze
Located in Paris, Île-de-France
French School, late 18th century, circle of Jean-Baptiste Greuze (1725–1805) Young Girl with a Basket of Fruit Oil on canvas, preparatory work, Unsigned 39 x 31 cm Provenance: Pri...
Canvas, Oil
$1,934
H 29.34 in W 23.63 in
Antique oil paining, A laughing man with an upturned glass, Dutch golden age
Located in DEVENTER, NL
Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...
Canvas, Oil
$32,820
H 50.4 in W 42.52 in
Equestrian portrait of Louis XIV, workshop of René-Antoine Houasse, French 17th
Located in PARIS, FR
Equestrian portrait of Louis XIV, Workshop of René-Antoine Houasse, (Paris, c. 1645 - Paris, 1710) Late 17th century French school, c. 1690 Oil on canvas, h. 100 cm, w. 80 cm Importa...
Canvas, Oil
$7,055
H 36 in W 31 in D 2.5 in
18th Century portrait oil painting of a girl with an orange
By Robert Byng
Located in Nr Broadway, Worcestershire
Circle of Robert Byng British, (1666-1720) Girl with Orange Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inc...
Canvas, Oil
$31,883Sale Price|20% Off
H 68.9 in W 55.91 in
18th c. French Portrait of a Lady as Venus, attributed to Pierre Gobert
By Pierre Gobert
Located in PARIS, FR
Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...
Canvas, Oil
Self-Portrait
By John Hamilton Mortimer
Located in London, GB
Oil on canvas 30 x 25 ⅛ inches; 762 x 638 mm Verso: after Sir Joshua Reynolds, a self-portrait Not signed Painted c. 1758 Collections: Philip Gell (1775–1842), Hopton Hall, Derbyshire; By inheritance at Hopton Hall to his daughter, Isabella, who married William Pole Thornhill, who renounced Hopton and its contents in favour of his kinsman, Henry Chandos-Pole-Gell (1829–1902); By descent to his son, Brigadier General Harry Chandos-Pole-Gell (1872–1934), who sold Hopton Hall in 1918 and moved the family to Newnham Hall, Northamptonshire; By descent to his son, Lt Colonel John Chandos-Pole (1909–1993), Newnham Hall; Thence by descent until 2015, when acquired By descent to 2015; Lowell Libson & Jonny Yarker Ltd. Literature: Algernon Graves and Walter V. Cronin, A History of the works of Sir Joshua Reynolds P.R.A., London, 1901, IV, p. 1394. David Manning...
Canvas, Oil
$11,487
H 39.19 in W 33.07 in
Portrait of Julien Prieur the bailiff of the Marquis d'Armentières as a Hunter
By Jean-Baptiste Oudry
Located in PARIS, FR
This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing...
Canvas, Oil
$6,309
H 38 in W 33.25 in D 2.5 in
18th Century portrait oil painting of a gentleman
Located in Nr Broadway, Worcestershire
Follower of Enoch Seeman the Younger German, (1694-1744) Portrait of Gilbert Sympkin Oil on canvas Image size: 29.25 inches x 24.5 inches Size including frame: 38 inches x 33.25 inches A fine three quarter length portrait of a gentleman traditionally identified as Gilbert Simpkin (Sympkin), follower of Enoch Seeman the younger, C1720. The portrait is set in a feigned sculptured oval cartouche, a device used to give a sense of depth. The sitter is depicted wearing a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed holding his hat under his left arm with the fingers of his right hand stretched out. At court, long fingers signified wealth, culture and intelligence. The painting has clearly been executed by an artist of great ability who has been influenced by Enoch Seeman the younger. Gilbert Simpkin (Sympkin) was born in London on 24 August 1683, the son of John Simpkin and Susannah Butler. His grandfather was also called Gilbert Simpkin. He entered Oxford University in 1700 where he studied at St John’s College. In 1702, he became a student of Middle Temple, which at the time was one of the world’s most important centres of legal education. He later settled in Plymouth and then Bristol. He died in Bristol on 15 May, 1744 and was buried at Bristol Cathedral. He remained unmarried and the portrait may well have been commissioned to commemorate when he was first Called to the Bar or perhaps had established his own practice. Enoch Seeman or Seemann the younger was born in Danzig, Germany now Gdansk, Poland in 1694. His father was Enoch Seeman Senior, an artist of Flemish origin and his brothers Isaac, Noah and Abraham also became artists. He came to London with his father and brothers around 1704 and established himself as a portrait artist. From 1717 he became painter to the Royal court painting...
Canvas, Oil
$8,205
H 23.94 in W 35.75 in D 5.91 in
19th Century Historical English Painting David Wilkie
By Sir David Wilkie
Located in Roma, IT
Sir David Wilkie RA (18 November 1785 – 1 June 1841) “The Parish Beadle” Oil on canvas Although unsigned, this beautiful painting is undoubtedly an original work by David Wilkye as...
Oil, Canvas
$5,274
H 19.89 in W 15.95 in D 1.97 in
18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi
Located in Roma, IT
18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...
Oil, Canvas