Patrick Pietropoli Portrait Paintings

Senza Titolo 4 Oil Paint on Copper Portrait In Stock Giovanni Tommasi Ferroni (1967, Rome) descended from an artistic Tuscan family. His grandfather, ...

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...

Dimension with frame: 35 x 29,7 x 3,3 cm. A finely executed miniature devotional painting depicting the Madonna tenderly embracing the Christ Child. Executed in oil on copper and dating from the late 18th to early 19th century, the composition displays the intimate scale and luminous surface characteristic of copper paintings. The Virgin is shown wearing a deep blue mantle highlighted with delicate gilded details and crowned by a circle of stars, while the Christ Child rests affectionately in her arms. The work reflects the enduring influence of Baroque religious imagery and evokes the devotional paintings produced throughout the Spanish world during the colonial period, while remaining firmly rooted in the broader Continental European tradition. Its small scale, refined execution, and warm devotional character make it an appealing collector's piece. The painting is presented in an impressive carved and ebonized wooden frame that beautifully complements the richness of the composition. A charming example of late 18th-century religious art, combining devotional intimacy, Baroque sensibility, and the luminous qualities unique to oil on copper. madonna and child, virgin mary, christ child, oil on copper, copper painting, religious painting, devotional painting, catholic art, christian art, sacred art, baroque religious art, baroque devotional painting, continental european school, spanish colonial taste, spanish colonial influence, antique religious artwork, ecclesiastical art, crowned madonna, star crown madonna, virgin and child, christian iconography, late 18th century painting, circa 1800, antique oil on copper, miniature painting, devotional icon, old master style, european religious art, framed religious painting...

This charming German miniature painting, created of oil on copper, depicts a young woman wearing a large and lavish hat. With dark, braided hair and blue eyes, the sitter's cheerful ...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

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...

Portrait of a man. Oil sketch on cardboard. Unsigned. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck was the son of Jules Evariste van Biesbroeck, a painter of Ghent, but was born in Italy, in Portici, near Naples, while his parents were staying there. (In the 19th century many artists made educational trips to Italy). It was a long visit: the child was two years old by the time the family returned to Ghent.[1] After a short period of practice with his father, van Biesbroeck was enrolled in the Academy of Fine Arts in Ghent. His first painting, "The Shepherd" (French: Le pâtre), was sold at the Triennale in Ghent. In 1888, when he was only 15 years old, he made his debut at the "Salon des Champs-Elysées" in Paris with his monumental work "The Launch of the Argo" (French: Le lancement...

The Flagellation of Christ Old Master Flemish School 17th century Medium: Oil on copper Dimensions: Image size 22 x 17 cm, frame size 39 x 31 cm

A fine 19th century oil on canvas portrait stated to be Captain Paul John Henry Butler, 5th Royal Lancashire Militia, half length, wearing breast star. Hou...

Portrait study of the grand daughter of the artist. Oil on panel. Signed. Unframed. This work will be recorded in the catalogue raisonné of the...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

Flower Garland Surrounding the Virgin and Child, after Jan Brueghel the Elder (flowers), Circle of Frans Francken II (figures), Antwerp, circa 1615–1625, Oil on copper This finely executed garland painting on copper belongs to the Antwerp tradition of collaborative devotional cabinet pictures developed in the early seventeenth century. The meticulously rendered floral wreath may be associated with the circle of Jan Brueghel the Elder, while the central figures are attributable to the circle of Frans Francken II. The copper support, favored for high-quality works of this type, provides an exceptionally smooth surface that permits minute precision of detail and preserves the jewel-like luminosity of the colours. Set against a dark, subtly modulated background, the oval garland appears to float freely within the pictorial field, leaving the corners and margins open and lending the composition an airy sense of balance. The wreath is constructed from a carefully orchestrated rhythm of large, voluminous blossoms—roses in varying hues, carnations, anemones, and marigolds—interwoven with a profusion of smaller flowers, leaves, and stems. Each bloom is individually characterized, displaying botanical precision, crisp highlights, and delicate tonal transitions consistent with early seventeenth-century Flemish flower painting...

The Christ Child as Redeemer of the World Oil on Canvas, 69.3 x 49.7 cm Provenance Private Collection, Belgium The present painting is known in different versions. One of them is ...

AN URGENT MAN 2020 Paris, France Oil and acrylic on canvas portray a ‘derbyed’ man attempting to shed the weighted armor of his obligations and persona. A very loose nod to the character from René Magritte’s 1964 painting, ‘The Son of Man...