Giulio Di Sotto Paintings

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

Portrait of a Young Woman with Roses French School, 19th Century, in the manner of Jean-Baptiste Greuze (1725–1805) unsigned This delicate female figure illustrates the enduring 19...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Paul Louis Narcisse GROLLERON (Seignelay 1848 – Paris 1901) Child atop a wall Oil on canvas H. 60 cm ; W. 73 cm Signed and dated lower right – 1884 Paul Grolleron belongs to the generation of French painters who, during the second half of the 19th century, revitalized military painting through a keen and sensitive observation of soldiers' lives. Born in 1848 in Seignelay (Yonne), he trained in Paris under Léon Bonnat, receiving instruction grounded in rigorous draftsmanship and powerful structural composition. Exhibiting at the Salon from 1873 onwards, Grolleron developed a body of work dedicated to military painting, history painting, and genre scenes. He drew his primary inspiration from 19th-century conflicts, particularly the Franco-Prussian War of 1870–1871. Far from portraying war in an exclusively heroic light, the artist focused on lived experiences: marches, halts, bivouacs, reconnaissance missions, and combat scenes. The precision with which he rendered uniforms, equipment, and postures lends his compositions both a narrative and a documentary quality. His art is distinguished by solid draftsmanship, accuracy of detail, and remarkable compositional mastery. Notable works exhibited at the Salon include *Épisode de 1870* (Episode of 1870), *Combat en 1870 sous les murs de Paris* (Combat in 1870 beneath the walls of Paris), *Sur le qui-vive, à Buzenval* (On the Alert at Buzenval), and *Épisode de la bataille de Loigny* (Episode from the Battle of Loigny). An award-winning Salon artist whose work is held in both public and private collections, Grolleron remains a significant figure in French military painting...

A contemporary cowboy is rendered with the gravity of a classical male nude. Surdo treats the body with the care of an Old Master while layering in the mythology of American masculin...

Oil on canvas 33 x 48 ½ inches; 840 x 1235 mm Painted c. 1793 Collections: George Romney; By descent to Elizabeth Romney (1832-1893), the artist’s granddaughter; Romney sale, Chris...

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

This mid-18th-century half-length German portrait depicts a middle-aged aristocrat wearing armour and a wig. Despite his heavily-clad appearance, it’s likely that this rather noncha...

Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm)  Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...

US buyers pay no import tariffs on this item. This late 18th-century Italian oil painting fragment depicts Mary Magdalene kneeling alongside an alabaster jar. Christ’s hand is parti...

This charming Italian genre painting in the style of Pio Joris, a master of the 19th-century Italian genre painting, evokes the picturesque and nostalgic atmosphere of Italian life, ...

Portrait of Sarah Bodvile (c.1640–1720), later Countess of Radnor, c.1660 Studio of Sir Peter Lely (1618–1680) Oil on canvas Few Restoration portraits combine beauty, biography and ...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...