Galerie Ars Pictura Portrait Paintings

Antoine Louis MANCEAUX (Calvi, 1862 - Beauvais, 1939) The sculptor Jean-Paul Aubé working on the plaster cast of a statue of Shakespeare Oil on canvas, formerly mounted on cardboard ...

Marianne Loir (Paris 1705 – Paris 1783) Presumed Portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm Unsigned Grandda...

Italian School, late 17th century Salome and the Head of Saint John the Baptist Oil on canvas H. 109 cm; W. 83 cm Unsigned The theme of Salome receiving the head of Saint John the B...

François-Maurice ROGANEAU (Bordeaux 1883 - Aix-en-Provence 1973) Portrait of the model and future wife of the painter: Almerinda Caira Graphite, charcoal, and sanguine on paper H. 25...

Jean François Marie Bellier (Paris 1745 – Paris 1836) Portrait of a Man Oil on oval canvas laid flat H. 45 cm; W. 55 cm Signed on the left Circa 1790 Jean François Marie Bellier occ...

Early 20th-century French School Portrait of Daniel Schlumberger at age 34 Pastel H. 99.5 cm; W. 63.5 cm Title and dated lower right. Unsigned 1913 The Schlumberger family, of Prote...

Jac MARTIN-FERRIÈRES (Saint-Paul Cap de Joux 1893 – Neuilly sur Seine 1972) The Painter (Self-Portrait) - Sketch Oil on canvas H. 65 cm; W. 65 cm Signed lower left, dated 1925 Exhibi...

Circle of Jacob Ferdinand Voet Portrait of a Little Girl Oil on canvas H. 44 cm; W. 38 cm Unsigned This delicate portrait of a child, from the circle of Jacob Ferdinand Voet, demons...

Henri DELUERMOZ (Paris 1876 – Paris 1943) At the blacksmith's Oil on metal. Two welded plates H. 145 cm; W. 100.5 cm Signed lower left Trained under Alcide-Joseph Lorentz and Charle...

Circle of Adam de Coster (Mechelen 1586 – Antwerp 1643) Portrait of a Young Man with a Turban, Dressed in Oriental Style Oil on canvas H. 43 cm ; W. 33 cm Unsigned This portrait of ...

Jean CLUSEAU-LANAUVE (Périgueux 1914 - Paris 1997) The Pianist Oil on canvas H. 46 cm; W. 38 cm Signed lower right. Countersigned, titled, and dated on the back - 1962 Provenance: E...

Henry William Pickersgill, attributed to (London 1782 – London 1875) Portrait of Captain Samuel Wright Oil on canvas H. 92 cm; L. 73 cm Circa 1810/1815 Provenance: – Brother of the ...

French School, circa 1950 Portrait of a Chinese Woman with Two Fennec Foxes Oil on cardboard H. 60 cm; W. 50 cm Circa 1950 This painting depicts a young woman with a calm face and t...

Auguste-Joseph Delécluse (Roubaix 1855 - Paris 1928) Portrait of the artist's son, Eugène Delécluse Oil on canvas H. 98 cm; W. 116 cm Signed lower right 1903 Exhibition: 1903, Salon...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Italian school circa 1560, circle of Bernardino Campi Portrait of a woman with a book Oil on panel H. 78 cm ; L. 57cm

French School circa 1645 Portrait of Cardinal Mazarin - Sketch Oil on canvas H. 41.5 cm; W. 27 cm Provenance: Collection of the Reverend Georges Downing Bowles (1789-1863) Would ...

Paul LUNAUD (Brantôme 1900 – 1949) The ironer Oil on wood H. 80 cm; W. 64 cm Signed and dated on the right in the center, formerly signed lower right. 1942 Provenance : Artist's stu...

Auguste Adolphe CHAUVIN (Liege, 1810 – Liege 1884) Portrait of Coraline Oil on canvas Signed and dated lower right 91 x 68cm 1868 Auguste Adolphe Chauvin, born in Liège on October 2...

Hippolyte LECOMTE (Puiseaux, 1781 – Paris, 1857) Colonel of Russian cuirassiers Oil on canvas H. 33 cm; W. 24 cm Signed and dated at the bottom towards the center 1817 Exhibition: S...

Charles CHAPLIN (Les Andelys 1825 – Paris, 1891) Portraits of women Pair of oils on rectangular canvases H. 60 cm; L. 50 cm Signed Student of Michel Martin Drolling at the École des...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm ; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Baren...

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...

Attributed to Godfried SCHALKEN (Made 1643 – The Hague 1706) Young fischer Oil on panel in one board H. 32.5 cm; L. 25.5 cm Around 1670/75 Related works: - Autograph version with nu...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; L. 73 cm Signed on the helmet:...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with frame) Around 1695 Jean-Baptiste S...

Jean-Baptiste SANTERRE (Magny-en-Vexin, 1658- Paris, 1717) The cabbage cutter Oil on canvas H. 86 cm; L. 70 cm Jean-Baptiste Santerre began his apprent...

Antoine VESTIER, attributed to (Avallon, 1740 - Paris, 1824) Portrait of a man under the Revolution Oil on canvas H. 46 cm; L. 37 cm Circa 1793-95 This beautiful unsigned portrait i...

Francisque POULBOT (Saint-Denis, 1879 - Paris, 1946) Poster project for the Bal de la Mode - February 25, 1922 Charcoal and oil on canvas H. 99 cm; W. 91 cm Signed lower right In th...

Bernard GAILLOT (Versailles 1780 – Paris, 1847) Portraits of two sisters Pair of oil on canvas H. 92 cm; L. 73 cm One signed Student of David, he presented his first works at the Sa...

French school circa 1810 Portrait of a woman in front of a landscape in a trompe l'oeil H. 106 cm; L. 91 cm Oil on canvas Preserved in its original vine leaf frame, this large portr...

French School Portrait of a young woman in Louis XV period dress Pastel on paper mounted on oval canvas H. 68 cm; W. 54 cm (Frame: H. 102 cm; W. 71 cm) 18th century frame, anti-refle...

Suite of four large family portraits, kept together to this day. Created around 1840 by the painter Théophile Morel, who presented portraits at the Salon des Artistes Français from t...

French school circa 1815 Portrait of Madame Leblond Oil on canvas H. 66 cm; W. 55 cm Named on the back Comparable to the works of painters such as Louis Hersent, our portrait, unsig...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 8...

Georges HYON (Paris 1840 – Saint Germain en Laye 1913) Cavalry review of the 2nd Lancers regiment Oil on canvas H. 115 cm; W. 146.5 cm Signed lower left A student of Portalis, Georg...

French school circa 1870 Holy Family under an oak, after Raphaël, on gold background Oil on canvas H. 92 cm; W. 60 cm This aesthetic curiosity takes up the very famous composition b...

Jean DESPUJOLS (Salles 1886 – Shreveport 1965) Portrait of a Henri Martin, mayor of Saint Médard en Jalles (Gironde) Oil on canvas H. 75 cm; L. 60 cm Signed lower right around 1920/2...

Jean ABADIE (Tarbes 1921 – Ballan-Miré 2010) Market in Périgord Oil on canvas H. 73 cm; L. 92 cm Signed lower right Provenance: - Galerie France-Art, Paris, circa 1980 - Private col...

Elisabeth DUJARRIC de LA RIVIÈRE (Jouy-en-Josas 1930 – Excideuil 2005) Artist's self-portrait Oil on canvas H. 171 cm; L. 70 cm Signed on the back Provenance: Private collection, Périgord Born in the heart of the Bièvre valley, a few kilometers from Versailles...