Portrait of Lady Diana Bruce in Blue Dress & Cut Sleeves c.1660-1670, Peter Lely
By Sir Peter Lely
Located in London, GB
Portrait of Lady Diana Bruce in a Blue Dress with Cut Sleeves c.1660-1670 Circle of Sir Peter Lely (1616-1680) Presented by Titan Fine Art is a captivating portrait of the noble Lad...
Oil, Canvas
Portrait of Barbara Palmer 1st Duchess of Cleveland
By Sir Peter Lely
Located in Taunton, GB
Portrait of Barbara Palmer 1st Duchess of Cleveland 1640-1709, half-length wearing a red dress and portrayed within a cartouche. Circa 1680 Oil On...
Oil
$25,851Sale Price|20% Off
Portrait Of Philadelphia, 17th Century Probably Philadelphia Carey Of Aske Hall
By Sir Peter Lely
Located in Blackwater, GB
Portrait Of Philadelphia, 17th Century Probably Philadelphia Carey Of Aske Hall, Richmond, North Yorkshire, English Courier & Lady In Waiting to Princess Elizabeth Studio Of Sir Pe...
Canvas, Oil
$215
H 0.99 in Dm 10.24 in
"Currency #201" Blue Portrait Artwork with French Text on Red Background
By Natasha Lelenco
Located in FISTERRA, ES
“Currency #201” is a circular mixed media portrait on wood featuring a surreal blue figure against a vibrant red background. Around the head, the French inscription reads: “Nous, les...
Wood, Spray Paint, Acrylic
Oil Portrait of a Victorian Lady, c. 1850
Located in Chicago, IL
Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...
Oil
$3,000
H 18 in W 14 in
Sogno D'Oro - Seated Muscular Male Wearing a Loin Cloth, Original Oil on Canvas
By Richard Gibbons
Located in Chicago, IL
A muscular male is seated on a chair, his eyes closed and head tilted toward the sky soaking up the warmth of the sun. "Sogni D'Oro", meaning sweet dreams, is set upon an intricate b...
Oil, Canvas, Panel
French School 19th Century Oil - Young Painter
Located in Corsham, GB
A charming self-portrait by a young French painter in a red cap holding a paintbrush. Unsigned. Well presented in a painted wooden frame. On paper laid to board .
Oil
$7,405
H 22 in W 19 in D 3 in
The Spanish Flower Girl. An antique oil painting on canvas by Eduardo Garrido
By Eduardo Leon Garrido
Located in St. Albans, GB
Eduardo León GARRIDO (French, Madrid 1856-1949 Caen) Picture Size: 16 x 13" (41 x 33cm) Outside Frame Size: 22 x 19" (56 x 48cm) Eduardo León Garrido was born in Madrid in 1856. He...
Oil
$5,924Sale Price|20% Off
H 34 in W 27 in D 2 in
Portrait of a Young Woman - British Edwardian art female portrait oil painting
By James Jebusa Shannon
Located in Hagley, England
An original oil on canvas on panel by Sir James Jebusa Shannon. The portrait dates to the Edwardian period and depicts a bold British Impressionist painting of a beautiful young woma...
Oil
"Languishing, " Oil Painting, Reclining Female Nude
By Karen Offutt
Located in Denver, CO
Karen Offutt's "Languishing" is an original, handmade painting that depicts a nude female figure covered by a sheer black fabric with peonies in the foreground. About the Artist: K...
Panel, Oil
$18,718
H 19.3 in W 24.81 in D 0.79 in
Francesco Albani Circle Italian Mythological Painting
Located in Roma, IT
Francesco Albani Circle Italian Mythological Painting This important oil painting on wood depicts a subject that is very rare in the iconography of ancient mythological paintings: the birth of Erittonio. Erichthonius who succeeded Amphictyon becoming the fourth mythological king of Athens and married the naiad Praxithea who made him the father of Pandion. The extremely high quality of this very rare painting suggests that it was painted by an artist who frequented Francesco Albani's studio. The period, the mythological subject, the harmony of the colours and, above all, the sublime quality of the flesh tones all point in this direction. This artwork, never before on the market, comes from an important Italian private collection Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. ERYTHTONIOS (᾿Ερυχϑόνιος, Erychthonios) Born of Hephaestus' love for Athena, from the breast of Ghe, who was impregnated by the god; welcomed by Athena, who placed him in a basket together with one or two snakes, entrusting him to the care of Cecrops' three daughters. Against the goddess's wishes, they opened the chest, from which emerged, according to different versions of the myth, either the child wrapped in snakes or a snake, which, in some versions, killed the girls, while in others, they threw themselves from the Acropolis in fear. Erittonio, in the form of a snake, is welcomed by Athena into her temple and curls up under the goddess's shield. Alongside this myth, of Ionian origin, are others due to the doubling of the figures of E. and Erechtheus The scene of the birth appears in figurative tradition: in a Melian terracotta relief from the early 5th century, Ghe, half-emerging, holds out the baby Erittonio. to Athena, who welcomes him in the presence of Cecrops; the same scene appears on various painted vases, such as a red-figure kölix by the Painter of Kodros, from Tarquinia, in the Berlin Museums, dating from around 440 BC, where Hephaestus also appears alongside Cecrops. A modest red-figure vase from Camiro, in the British Museum, depicts the moment when the fleeing Cecropids discover the cista, from which the infant Erittonio. emerges between two snakes, greeting Athena. The moment when the chest was opened was depicted by Phidias on the xiii and xiv S metopes of the Parthenon, where Cecrops and Pandrosus appear in the first and Erisichthon and Aglaurus with the chest uncovered in the second. A kölix in the style of the Brygos Painter in Frankfurt, on the other hand, depicts the large snake E. chasing the fleeing Cecropids towards their father's palace. Luciano (De dom., 27) recalls a painting depicting the scene of the birth and the representation of the myth in pantomime on the theatre (De salt., 39). Bibliography: Engelmann, in Roscher, cc. 1303-1308, s. v. Erichthonios; P. Jacobstahl, Die Melischen Reliefs, Berlin 1931, pp. 96-98, plate 75 a; W. Züchner, in Jahrbuch, LXV-LXVI, 1950-51, p. 200 ff., figs. 34-35; J. D. Beazley, Red-fig., p. 720; G. Becatti, Problemi fidiaci, Florence 1951, p. 22. Questo Francesco Albani (Bologna, August 17, 1578 – Bologna, October 4, 1660) was an Italian painter. Albani was born in Bologna, Papal States, in 1578. His father was a silk merchant who intended his son to go into his own trade. By the age of twelve, however, he had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi...
Oil, Wood Panel
$5,600
H 47 in W 22.5 in
Minimalist Cubist Abstract, Signed Oil Painting by Female Artist Miriam Bromberg
By Miriam Bromberg
Located in Long Island City, NY
Minimalist Cubist Abstract Miriam Bromberg Oil on Canvas, signed Size: 42 x 18 in. (106.68 x 45.72 cm) Frame Size: 47 x 22.5 inches
Oil
European Portrait of a Priest
Located in Milford, NH
A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...
Canvas, Oil
$2,500
H 20 in W 16 in
Golden Eyes - Portrait of a Woman with a Piercing Gaze, Original Oil Painting
By Richard Gibbons
Located in Chicago, IL
Richard Gibbons' painting "Golden Eyes" shows a portrait of a beautiful young woman. Her piercing gaze brings the viewer in for a closer look. Her sultry, yellow eyes are intoxicatin...
Oil, Board, Canvas
$2,200
H 16 in W 12 in
Victoria - Oil Painting Portrait of Woman in White Gown with Flowers - Framed
By Richard Gibbons
Located in Chicago, IL
"Victoria" is portrait of a young female with flowing blond hair and draped in white. Purple flowers adorn her hair as well as her dress. Her pale skin, as well as her gaze away f...
Panel, Oil
Sold
H 46.5 in W 40.75 in
Portrait of Bridget Drury Lady Shaw, formerly Viscountess Kilmorey
By Sir Peter Lely
Located in London, GB
Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...
Oil
Sold
H 54.73 in W 45.67 in D 3.15 in
Portrait of Lady, Elizabeth Wriothesley, Countess of Northumberland, Peter Lely
By Sir Peter Lely
Located in London, GB
Portrait of Elizabeth Wriothesley, Countess of Northumberland (1646-1690) (later Duchess of Montagu) c.1665-1669 Studio of Peter Lely (1618-1680) This exemplary three-quarter-length...
Canvas, Oil
Sold
H 59 in W 48 in
Portrait Of Mrs Elizabeth Levinz (nee Livesay), 17th Century by SIR PETER LELY
By Sir Peter Lely
Located in Blackwater, GB
Portrait Of Mrs Elizabeth Levinz (nee Livesay), 17th Century by SIR PETER LELY (1618-1680) Large 17th Century portrait of Mrs Elizabeth Levinz (nee Livesay), oil on canvas by Sir P...
Canvas, Oil
Elizabeth Lady Denham
By Sir Peter Lely
Located in Saint Augustine, FL
An original hand colored copper plate engraving after Dutch artist Sir Peter Lely (1618-1680) titled "Elizabeth Lady Denham", 1833. Engraved by English artist Thomas Wright (1792-1849) in 1833. Incredibly framed with moulding from Spain, matting from Holland, all archival. Framed size: 21" x 17.75". Image size: 6.5" x 5". Mint condition. Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Thomas Wright (1792–1849) was an engraver and portrait-painter. After serving an apprenticeship with Henry Meyer, and worked for four years as assistant to William Thomas Fry, for whom he engraved the popular plate of Princess Charlotte and Prince Leopold in a box at Covent Garden Theatre. About 1817 he began to practise independently as a stipple-engraver, and also found employment in taking portraits in pencil...
Copper