Virgin De Caro Paint Oil on camvas Old master 18th Century Religious Italian Art

1735-1770

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...

This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl (unsigned)17th century,Oil painting on canvas oval,bust-length . She has dar...

PORTRAIT OF PRISCILLA, MRS WILLIAM OSBORN half length, oil on canvas, WILLIAM JACOB BAER (1860-1941) housed in the original early 19th c gilt cavetto frame The overall size being 94....

Fine Portrait of a lady standing in a landscape wearing a white satin dress and holding a posy of flowers. Manner of Sir Godfrey Kneller (1646-1723) ...

Portrait of a very attractive Lady, head-and-shoulders in length monogrammed FD, inscribed to verso, oil on canvas, 50cm x 40cm whilst overall is 59 x 69 cm . In overall good condition some craquelure. Has been relined and cleaned. original frame some minor losses (self coloured) Frank...

Portrait of a bay horse with army officer seated on a drinking trough, signed with monogram and and dated 81', inscribed verso 'by W E Milner, Gainsborough', oil on canvas. The size overall being 44 x 57 cm (17.5 x 22.5 inches) whilst the image is 35 x 48 cm ( 19 14 inches ) In very good condition housed in a gilt frame. William Edward Millner...

Portrait of Sir Charles Forbes of Edinglassie, Oil on canvas. The size of the portrait is 75 cm x 59.5 cm whilst overall the size is 106 cm x 91 cm In very good condition.There has been some restoration/overpainting etc.There is some minor craquelure. Housed in a period gilt frame decorated with acorns and leaves Overall a good portrait, circle of a fine scottish artist (unsigned) , with an interesting sitter, his details below. sir Charles Forbes of Edinglassie Sir Charles Forbes, 1st Baronet (1774–1849) was a Scottish politician, of Newe and Edinglassie, Aberdeenshire. Forbes was the son of the Rev. George Forbes of Lochell. He was a descendant of Alexander Forbes of Kinaldie and Pitsligo, and was in 1833 served heir male in general to Alexander Forbes, 3rd lord Forbes of Pitsligo, father of Alexander Forbes, 4th Lord Forbes of Pitsligo, attainted in 1745. Forbes was of a bluff but kindly nature, diffident as to his own merits, of a straightforward and manly character. On the death of his uncle in 1821 Forbes succeeded to the entailed estates of the Forbeses of Newe, and was created a baronet by patent in 1823.[1] He married in 1811. His daughter, Elizabeth, married General, Lord James Hay, second son of the seventh Marquess of Tweeddale. Sir Henry Raeburn FRSE, RA, RSA (1756-1823) Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting...

A 19th century oil on canvas, portrait of a young woman.This portrait is believed to be of Queen Mary II taken from an engraving of the painting, Halswell Park Sale, 1948, lot no.1323, Housed in a decorative gilt frame.Size overall being 70 x 86 cm high (27.5 x 33¾ inches approx) unsigned size of painting 54 x 68 cm (21 x 26 inches approx) To the rear of the portrait is a newspaper cutting of the engraving ,also a typed note regarding the provenance of the painting (see photo) Condition overall is very good, the Canvas has been relined, under UV there are areas of overpaint to bosom.Frame overall very good some minor self coloured losses Mary II (30 April 1662 – 28 December 1694) Mary, born at St James's Palace in London on 30 April 1662,eldest daughter of James, Duke of York (the future James II & VII) , and his first wife, Anne Hyde. Mary's uncle was King Charles II, her maternal grandfather, Edward Hyde, 1st Earl of Clarendon, served for a lengthy period as Charles's chief adviser. Mary married William of Orange. Willem Wissing, known in England as William Wissing...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) oil on canvas circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) unsigned The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...