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...
Canvas, Oil
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 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
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
Serie: Mujeres con espejo 5
By Ray Smith
Located in Cuernavaca, Morelos
Mixed technique
Mirror, Wood, Paint
$20,570
H 19.3 in W 24.81 in D 0.79 in
Circle of Francesco Albani, The Discovery of Erichthonius, Italian Oil on Panel
Located in Roma, IT
This Italian oil painting on panel depicts an unusual episode from classical mythology: Erichthonius emerging from the basket opened by Aglauros, Pandrosos and Herse, the three daugh...
Oil, Wood Panel
$165,707
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
$2,857
H 31.89 in W 39.38 in D 0.79 in
"The Naked Soil", Sweeping Ochre Farmland Impressionist Oil Painting on Canvas
By Yves Calméjane
Located in Clermont-Ferrand, Auvergne-Rhône-Alpes
A deep ochre warmth spreads across this generously scaled oil on canvas, measuring H 31.9 in x W 39.4 in x D 0.8 in, pulling the eye across an undulating rural landscape that breathe...
Canvas, Oil
The Dissidents: Discourse on the Golden Mean
By Michael Tole
Located in New Orleans, LA
Michael Tole says of his work… This work draws a connection between the didactic moralizing tendencies of Neo Classicism (represented in the style of the painting) and Modernism (represented in the architectural setting). Though modern art eschews the naturalistic imagery used by Neo Classicists, both movements pursued a self-important, austere, self-consciously masculine aesthetic that they saw as synonymous with virtue. Set in the MoMA courtyard, a passel of men lounge about, regarding a golden statue which looks terribly out of place in this modernist vitrine. The uncomfortable architectural setting, prisonlike and cold, provides a foil for the odalisque-like young men sprawled on hard stone benches and paying homage to the central idol. In my current work, The Revisionist Histories, I am writing letters to art history, literature, and mythology in an attempt to reflect the social changes that have reshaped our society over the past century. As part of this agenda, I explore the evolution of gender norms, power dynamics, and representation within Western visual culture and what this implies for the negotiation between pleasure, justice, and our culturally specific discourse on beauty. The seed for The Revisionist Histories was sewn when I caught a glimpse of my preteen daughters watching music videos on their iPad as I chopped veggies for dinner. Out of the corner of my eye I caught glimpses of music videos featuring Beyonce, Taylor Swift, Ariana Grande, Katy Perry, and Doja Cat gyrating across the tiny screen. A better parent might have snatched the iPad away, but I was overcome with hallucinatory visions of this pop diva...
Oil, Canvas
Bobolink
By Ruth Owens
Located in New Orleans, LA
"Bobolink" is signed by the artist on the back of the painting. RUTH OWENS was born in 1959 to a young German woman and a Black serviceman from Georgia. The nomadic military lifesty...
Canvas, Oil
$5,500
H 9.25 in W 7.5 in D 0.001 in
19th C Pre-Raphaelite Style Watercolor Portrait of Girl with Blue Fascinator
By Henry Lejeune
Located in Houston, TX
Watercolor profile portrait of a young girl in a blue fascinator hat and a red scarf by artist Henry LeJeune in the pre-Raphaelite style in the 19th century. Signed in the lower left...
Watercolor, Paper
Tête et Corps d'Homme
By Raymond Bailly
Located in Houston, TX
French painting of modern figure in satirical pose by artist Raymond Bailly, circa 1960. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sl...
Oil
sexy couple - mw4mw (Cincinnati)
By Carlton Scott Sturgill
Located in New Orleans, LA
Medium: oil on panel, vintage frame Dimensions - HIM: 26.5 x 18.25 in HER: 27.5 x 17.25 in Born in 1971 in Cincinnati, Ohio, Carlton Scott Sturgill received his Masters of Arts (F...
Oil
Eli
By Justas Varpucanskis
Located in Mokena, IL
Eli, 2020 Oil on Panel with Carved and Gilded Frame, 11.5 x 13.5 inches An embodiment of Renaissance portraiture, Varpucanskis’s “Eli” is distinguished by its gentle charm and mat...
Gold Leaf
Ritratto dell'uomo
By Justas Varpucanskis
Located in Mokena, IL
Ritratto dell’uomo, 2019 Oil on Panel with Gilded Frame, 14 x 14 inches Set against a penetrating black background, Justas Varpucanskis’s “Ritratto dell’uomo”’ emerges with a shro...
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
Elizabeth Lady Denham
By Sir Peter Lely
Located in Saint Augustine, FL
An original hand colored copper plate engraving after Dutch artist Sir Peter Lely (1618-1680) titled "Elizabeth Lady Denham", 1833. Engraved by English artist Thomas Wright (1792-1849) in 1833. Incredibly framed with moulding from Spain, matting from Holland, all archival. Framed size: 21" x 17.75". Image size: 6.5" x 5". Mint condition. Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Thomas Wright (1792–1849) was an engraver and portrait-painter. After serving an apprenticeship with Henry Meyer, and worked for four years as assistant to William Thomas Fry, for whom he engraved the popular plate of Princess Charlotte and Prince Leopold in a box at Covent Garden Theatre. About 1817 he began to practise independently as a stipple-engraver, and also found employment in taking portraits in pencil...
Copper