Terry Shelbourne Art

Morston Constantine Ream (American, 1840-1898) Grapes Oil on canvas, 10 x 12 inches Framed: 22 x 24 inches (approx.) Signed at lower right: “Morston Ream” The still-life painter Mor...

Realistic figurative portrait of an indigenous Native American man by American artist Kenneth Su. The work features a man dressed in traditional clothing with large rock formations i...

A finely executed late 19th-century still life by John Bucknell Russell (1823-1919) of two brown trout in the foreground, along with a beautiful landscape. Fine example of a period fish still life, popular in Scotland during this period. It is presented in a gilt frame. Unsigned canvas...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

Soul in bloom, A vibrant expressionist portrait that masterfully weaves human emotion with the vivid beauty of nature. Painted with bold, textured brushstrokes and dynamic palette ch...

Realistic figurative portrait of an indigenous Native American woman by American artist Kenneth Su. The work features a woman dressed in traditional clothing with tipis in the backgr...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Sir William Beechey (Burford 1753-1839 Hampstead) Portrait of a Gentleman, c. 1810-20 Formerly identified as Joseph Greaves Esq., High Sheriff of Derbyshire (?-1780) Oil on canvas 76...

Adriana Verelst Portrait of Lady Lempster 1683-1769 Oil on canvas, unsigned Image size: 49 ½ x 40 ⅓ inches Contemporary-style gilt frame The sitter is identified as Lady Sophia Osborne, Baroness Lempster (Leominster) (1661 - 1746), the daughter of Thomas Osborne, First Duke of Leeds, and Lady Bridget Bertie. Her first marriage was to Donogh O’Brien, Lord Ibracken in 1679, who passed away in 1682. She then married William Fermor, First Baron Leominster, in 1691, gaining her the title Baroness Leominster. She and William had five children, including Thomas Fermor, First Earl of Pomfret. The portrait is dated 1685, indicating that this identification was added after the creation of the portrait. During the early 18th century a highly romanticised view of country life reached its peak. Many members of the nobility, particularly women, chose to have their portraits painted in shepherdess costume, a break from the conventional norms of formal portraiture. This style developed from 17th century Roman pastoral landscapes by artists like Claude Lorrain and Dutch three-quarter length portraits of shepherds and shepherdesses. These works aimed to evoke themes of Arcadia, poetic escape and landed virtue, with their subjects depicted wearing fashionable and expensive clothing, inconsistent with actual farm work. A knowledge of Latin and Greek pastoral poetry signified education and refinement, desirable qualities for a woman to possess. Life in the country was perceived as peaceful, contemplative and free of hardships, and to be painted in this pastoral style was to create a tangible expression of power and wealth, creating tension between the aristocratic fantasy and the reality of rural life. Lady Lempster has opted for such a depiction. She is shown seated, wearing a white silk gown, head tilted slightly to one side and with a shepherd’s crook and wicker hat adorned with flowers in her lap. She sits on a bench, in front of a large tree, an expansive view visible on the right behind her. So ingrained was this style that the crook and hat alone would be enough to suggest Arcadia to the viewer. There is an interesting contrast between the female sitter and the woman artist who painted her. The shepherdess costume was used predominantly in portraits of women sitters, with the aim of expressing virtues such as purity and appropriate education rather than a distinct, individual personality. Portraits of men however, depicted sitters in settings, costume and surrounded by objects that signified their profession and accomplishments. Adriana Verelst was a woman with a career of her own, able to support herself and defying expectations of the time, the conformity of Lady Lempster’s portrait emphasising Verelst’s own unconformity. Adriana Verelst Adriana Verelst (c. 1683–1769) was an English portrait artist, and daughter of the portrait painter Herman Verelst. Her exact date and place of birth are unknown, though her parents were from Vienna. Verelst is a prime example of how women artists were often misrepresented or even erased from the cannon of art history. There have been questions surrounding her biography with the view that her sister, Maria Verelst and fellow portrait artist, did not exist and could be Adriana Verelst herself. Contemporary evidence of Adriana’s birth, marriage, career and death exist, however, she has not been included in later art histories. In contrast, there is no contemporary documentary evidence for the existence of Maria Verelst, though she is named in later publications. The name Maria Verelst first appeared in Matthew Bryan’s Dictionary of 1816 and it has been argued that his use of the name was a misinterpretation of ‘M’ being an abbreviation for Maria rather than ‘Mademoiselle’. The date of birth and location in Antwerp was given by J.B. Descamps in 1753, though there is no archival evidence of a birth or baptism for Maria in Antwerp at this time. In 1762, Horace Walpole made the link between Maria and Herman Verelst, an Anglo-Dutch painter, as the father of the artist. As Herman had fled from the siege of Vienna in 1683, biographers resonated that with a birth date of 1680, Maria must have been born in Vienna. Biographers also stated that Maria was trained by her uncle, Simon Verelst, a renown painter of flowers and still lifes. The first reference to 1744 as the date of Maria’s death was in 1859 in Mrs. Ellet’s Women Artists in all Ages and Countries, though no source is given for this date. It has been argued that Maria Verelst is in fact Adriana, claiming that earlier biographies used ‘M. Verelst’ as Mademoiselle in reference to Mademoiselle Adriana Verelst. If these were in fact two separate women, they would have been sisters. Maira’s grandfather, Pieter Hermansz Verelst...

Jan Van Puyenbroeck Antwerp 1887 – 1972 Schoten Belgian Painter 'Still Life with Cherries' Signature: signed lower left 'J. van Puylenbroeck' Medium: oil on canvas Dimensions: imag...

Adam Lehr (American, 1853–1924) Still life with green apples and copper vessels, 1908 Oil on canvas Signed lower right 16 x 24 inches 27 x 35 inches, framed Exhibited: WOLFS Gallery...

Jacob Huysmans (Antwerp 1633-1696 London) Portrait of a Lady holding a lemon, c. 1665-75 Three-quarter-length, wearing extensive jewellery, within an architectural interior Formerly ...