Portrait of an Italian Noblewoman

Late 15th century

A three-quarter length portrait of Anne, Lady Russell, later Countess of Bedford (1615-1684), in a blue dress. Attributed to Sir Anthony Van Dyck.  Anne C...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

Santi di Tito (Sansepolcro, 1536 - Florence, 1603) Portrait of a noblewoman, half-length, with a book in her hand 16th century Oil on panel 75 x 61 cm. - with frame 115 x 101...