Portrait of young Lady, c. 1656-58
By Sir Peter Lely
Located in Edinburgh, Scotland
Sir Peter Lely (Soest 1618-London 1680) Portrait of young Lady, c. 1656-58 Half-length, wearing pearls and a blue dress, with her shirt revealed Formerly identified as Elizabeth Clay...
Oil
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
Portrait of a Lady, in Black Dress with Red Satin Sleeves and Pearls c.1660-1680
By Sir Peter Lely
Located in London, GB
Portrait of a Lady, in a Black Dress with Red Satin Sleeves and Pearls English School c.1660–1680 Circle of Sir Peter Lely (1618-1680) This striking portrait is a compelling exampl...
Canvas, Oil
$26,342Sale Price|20% Off
Portrait Of Philadelphia, 17th Century Probably Philadelphia Carey Of Aske Hall
By Sir Peter Lely
Located in Liphook, 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...
Oil, Canvas
$18,000
H 68 in W 56 in
Fireflies II - contemporary, figurative, portrait, oil on canvas
By Daniel Hughes
Located in Bloomfield, ON
This realistic oil portrait of a young man is by Daniel Hughes. In a field surrounded by the magical glow of dozens of fireflies, a young man stands alone, looking towards hills in ...
Canvas, Oil
$216
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
$20,580
H 28.75 in W 23.5 in D 1 in
Old Master portrait of a lady musician by the master or portraiture
Located in Petworth, West Sussex
Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...
Canvas, Oil
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
$170,280
H 94.49 in W 85.44 in D 1.19 in
Oil on Canvas Painting Portrait of the Italian Noble Family of Zanardi Count
By Lucia Casalini Torelli
Located in Firenze, IT
This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...
Canvas, Oil
$7,816Sale Price|20% Off
H 49.22 in W 44.89 in
Saint James Religious Tempesta Paint 17th Century OIl on canvas Old master Italy
Located in Riva del Garda, IT
Antonio Tempesta (Florence 1555 - Rome 1630) Circle Saint James defeating the Moors in battle Oil on canvas 112 x 102 cm - Framed 125 x 114 cm A valiant knight with his sword...
Oil
$7,816Sale Price|20% Off
H 49.22 in W 44.89 in
Conversion Saint Paul Antonio Tempesta Paint 17th Century Oil on canvas Italy
Located in Riva del Garda, IT
Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the e...
Oil
$45,000
H 38 in W 48 in D 2 in
WWI American Scene Ashcan Modern 20th Century Historical Realism Industrial WPA
By Gerrit Beneker
Located in New York, NY
WWI American Scene Ashcan Modern 20th Century Historical Realism Industrial WPA Gerrit Beneker (1882-1934) "Constant Driving Will Win the War" 30 x 40 inches Oil on canvas Signed and dated 1918 lower right In 1905, Gerrit Beneker began his art career as an illustrator. He married Flora Judd, his high school sweetheart from Grand Rapids and they moved to Brooklyn, NY. Gerrit's early passion was to create an art that would inspire and provide honor to the workingman. As such, he had no interest in painting portraits of pretty women, which were so often seen on the magazine covers of the day. Rather he wanted to seek out workingmen on the bridges, tunnels and skyscrapers of NYC, and paint them in their environments. He completed over 150 magazine covers, numerous ads including many for Ivory Soap...
Canvas, Oil
$4,274Sale Price|20% Off
H 29.14 in W 22.84 in
Saint John Baptist Venusti Paint 16th Century Oil on canvas Old master Italy Art
Located in Riva del Garda, IT
Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. - In frame 74 x 58 cm.) The work depicts Saint John...
Oil
Framed Mid 20th Century Oil - Portrait of a Boy
Located in Corsham, GB
A delightful head and shoulders portrait of a young boy in a white collared shirt and buttoned brown jacket. Presented in a textured gilt-effect frame with internal slip. Indistinctl...
Oil
$1,937
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
$8,427Sale Price|20% Off
H 36.23 in W 50.01 in
Equestrian Portrait Florentine Painter 17/18th Century Paint Oil on canvas Italy
Located in Riva del Garda, IT
Florentine painter, 17th-18th century Equestrian portrait of Pietro Strozzi (Florence, 1511 - Thionville, 1558) Oil on canvas 79 x 115 cm. - Framed cm. 92 x 127 A valiant knight, p...
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 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