Dutch Portrait of a Gentleman

English Victorian bamboo frame with original cloth mounted on a pine stretcher; it retains the original bamboo loops for hanging ( but one has...

Dutch P. Regout charger,, the outer edge has a flow blue background with foliate , this is separated a repeated design of various stylized flowers and foliate in shades of orange, co...

This three-drawer granite top chest has a dark stone top, which is later. There are elaborate handles which were individually hand cast but are not o...

18th century Dutch Marquetry mirror, inlaid with flowers and vines with heraldic crests. It has a broken arch pediment with a brass pineapple fi...

Early 19th Century Dutch Marquetry Center Table, the top inlaid with flowers, leaves, and butterflies with book matched masks on the corners. It is fully inlaid on all four sides. Th...

This description is taken from the information secured to the reverse of the painting - 18th century oval oil portrait of Rebecca Steel of New Timber...

A French Limoges enamel portrait plaque depicting Catherine de Medici, 19th century contained in an ebonized frame monogrammed and dated to the r...

Colorful sailing print showing the Kaiser at the helm of his beloved yacht meteor with crew on deck racing in a regatta. Matted and framed. Weight: 5 l...

Italian oval oil on board gilt carved wood portrait of a gentleman in the original floral and berry frame, 18th century.

Dutch 19th Century silver double miniature portrait frame. A double portrait in a silver frame. On the back which is gilded with the text Souvenir 1820. Souvenir - or the meaning...

Encased in a geometric Art Deco frame, this small printed portrait depicts a young woman of French royalty, most likely Empress Josephine Bonaparte. Josephine Bonaparte was the Empre...

Miniature portrait of a distinguished lady, signed Stieler. Bronze frame behind oval round glass, 19th century Signed Stieler, Joseph Karl Stieler (1781- Mainz - 1858 Munich) was a German painter. The size is 10 cm x 7.5 cm x 1 cm 1820-1830 From 1820 until 1855 he worked as royal court painter of the Bavarian kings. He is known for his Neoclassical portraits, especially for the Gallery of Beauties at Nymphenburg Palace in Munich. Born in the city of Mainz to a long-established family of engravers, punchcutters and die makers, Stieler received some artistic training from his father, August Friedrich Stieler (1736–1789). After the early death of his father, Joseph Karl autodidactically completed his apprenticeship and began his career as a painter of miniatures, which were increasingly sought after by bourgeois circles After Mainz had been occupied by French revolutionary troops in 1792, Stieler followed the expelled court of Prince-Archbishop Friedrich Karl Joseph von Erthal to Aschaffenburg. Here he met with the later Archbishop Karl Theodor Anton Maria von Dalberg, who became his most important patron and sponsor. From 1802 to 1805 he attended the Academy of Fine Arts Vienna in the master class of Heinrich Füger. Stieler's portrait style was most especially shaped during his work in the Parisian atelier of François Gérard, a student of Jacques-Louis David. In 1808, he established himself as an independent portraitist in the city of Frankfurt and in 1810 travelled through Italy. From 1812 he worked at the court of King Maximilian I Joseph of Bavaria. In 1816, he again travelled to Vienna to paint the portrait of Emperor Francis I of Austria. Between February and April 1820, he worked on his portrait of Ludwig van Beethoven, which is probably the most well-known representation of the composer today. In 1847 he also painted the portrait of Lola Montez...