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Jules Muck "Iskander" 6' Large Scale 2012 Street Art Portrait, Acrylic on Canvas
By Jules Muck
Located in Miami, FL
JULES MUCK – "ISKANDER"
⚜ Acrylic on Canvas ⚜ Signed and Dated Lower Right ⚜ Provenance: Lab Art, 2012
A MONUMENTAL PORTRAIT FROM THE ICONIC LA STREET ARTIST
Painted in 2012, this large-scale portrait by Jules Muck captures Iskander Lemseffer, founder of LAB ART LA Street Art Gallery—the largest U.S. gallery devoted to graffiti and street art. With its raw brushwork and cinematic tension, the painting immortalizes a figure pivotal to the West Coast street art movement.
LAB ART opened in 2011 with a groundbreaking show that included over 50 urban artists, from Thank You X...
Category
2010s Street Art Portrait Paintings
Materials
Canvas, Acrylic
Robert K. White "Girl with Red Hair" Signed Oil, Contemporary Realist Portrait
Located in Miami, FL
ROBERT KENNETH WHITE – "GIRL WITH RED HAIR"
Oil on Canvas ⚜ Hand Signed Lower Right ⚜ Frameless Display
A PORTRAIT STUDY OF STRENGTH AND INTROSPECTION
In this emotionally charged p...
Category
2010s Realist Portrait Paintings
Materials
Canvas, Oil
Robert K. White "Kelly Slater" Oil on Canvas, Realist Portrait of Surf Legend
Located in Miami, FL
ROBERT KENNETH WHITE – "KELLY SLATER"
Oil on Canvas ⚜ Hand Signed Lower Right ⚜ Frameless Display
A PORTRAIT OF FOCUS, LEGACY, AND DEPTH
Rendered with near-photographic precision, ...
Category
2010s Realist Portrait Paintings
Materials
Canvas, Oil
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Portrait of a Gentleman, Doublet & White Ruff, Gloves Inscribed 1624, on panel
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Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract.
The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period.
According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance.
Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted.
This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately.
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