Large, 19th century oil on canvas portrait of a woman. Very well executed, typical of the professional, unsigned, itinerant portraiture that was popular among the affluent  More »

Large, 19th century oil on canvas portrait of a woman. Very well executed, typical of the professional, unsigned, itinerant portraiture that was popular among the affluent of the early 19th century. This is portrait of a simple yet handsome woman in her prime, dressed in a somber black dress and very frilly French style bonnet and ruff. She is seated in front of lush red drapes and is adorned with only one small piece of jewelry and a bare hint of a smile. This handsome lady would make a perfect "instant ancestor" in any home. Fine, fancy original period gilt gesso frame with some loss to the gesso (can be restored). One minor spot of paint loss, (pictured upper right top), overall fine condition. 32 1/2" wide x 37 1/2" high overall, painting is 25 " x 30" sight without frame.   « Less

The Virgin and Child wear magnificent apparel sparkling with gems set against a background of gold. The crowned Virgin tilts her head in the direction of her Son who looks  More »

The Virgin and Child wear magnificent apparel sparkling with gems set against a background of gold. The crowned Virgin tilts her head in the direction of her Son who looks directly at the viewer, his head radiating with rays of light. The 'grown-up' appearance of the Christ child is typical of Orthodox and early European portrayals of Jesus. The feminine beauty and tenderness of the Virgin, with her contemplative dark eyes and pursed red lips, is particularly delightful. By using various media the artist has vividly expressed the contrast between humbleness of the flesh and glory of the spirit in a manner that is quite profound. - (PF.5180)The Mother of Godof Kazan PF.5180 Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 14" (35.6cm) high x 12.25" (31.1cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil On Panel   « Less

This is a small version of the painting of Napoleon's Coronation hanging in the Cathedral of Notre-Dame de Paris. The large painting took two years to complete, 1806 and  More »

This is a small version of the painting of Napoleon's Coronation hanging in the Cathedral of Notre-Dame de Paris. The large painting took two years to complete, 1806 and 1807. This picture was meant to be a propaganda piece. Its long, detailed title was meant to immortalize that event in history. Napoleon's parents never approved of his coronation of himself as Emperor of France, so they never attended the coronation ceremony. However, since this was a propaganda piece, it needed to show that his parents approved of him being emperor so they were added to the picture. (Middle, just left of Napoleon in the throne in the back). It was also thought that if Napoleon were portrayed as crowning himself, he would come off as full of himself so David painted Napoleon crowning his wife Josephine. There is a larger version of this painting at the Louvre Museum in Paris. - (GDC.024)Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine - GDC.024 Origin: France Circa: 1810 BC Dimensions: 6.5" (16.5cm) high x 11" (27.9cm) wide Collection: European Works Of Art Style: Jacques-Louis David Medium: Oil on Ivory Condition: Fine   « Less

This large Peruvian painting of the Virgin Mary captures the viewers' absolute attention with is radiating holy presence and a strong physical presence. Representing the  More »

This large Peruvian painting of the Virgin Mary captures the viewers' absolute attention with is radiating holy presence and a strong physical presence. Representing the immaculate conception of the Virgin Mary, the painting depicts the Virgin Mary adorned with gold and jewels, surrounded by cloud and angels. The Virgin Mary is surrounded by numerous holy symbols such as the angels, the trinity, and quotes from the Bible. The pictorial symbols in the painting represent elements in the prayers dedicated to the Virgin Mary. For example, pictorial symbols such as the sun, the well of the living water, and lily all have significant meanings in the prayers dedicated to the Virgin and her immaculate conception. With amazing attention to details, this beautiful painting not only successfully captures the lovely Virgin Mary’s graceful holy status but also mesmerizes the viewers with such grace.The Virgin Mary - D.502Origin: Peru Circa: 17 th Century AD to 18 th Century ADDimensions: 56.75" (144.1cm) high x 42" (106.7cm) wide x .5"(1.3cm)depth Collection:Decorative Style: Cuzco School Medium: Oil on Canvas   « Less

Enamelled Painting Depicting a Feast - PF.5294Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 6.5" (16.5cm) high x 9.5" (24.1cm) wide Collection:  More »

Enamelled Painting Depicting a Feast - PF.5294Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 6.5" (16.5cm) high x 9.5" (24.1cm) wide Collection: Decorative Style: Russian Medium: Enamel on Wood   « Less

Noted for his genre scenes landscapes, and animal paintings, John Henry Dell exhibited regularly at the Royal Academy and at he British Institution. In this charming small  More »

Noted for his genre scenes landscapes, and animal paintings, John Henry Dell exhibited regularly at the Royal Academy and at he British Institution. In this charming small painting, he is working in the long European tradition of still fifes. Inspired by the great Dutch masters of the 17th century, Dell depicts a rich abundance of fruits, both exotic and familiar, set amid household objects of understated luxury. Though he captures the textures, shapes and muted colors of the scene with delicate skill, the painting is much more than a sensitive observation of nature: it is a celebration of life’s blessings. - (PF.1267b)Still Life with Fruits by John Henry Dell - PF.1267b Origin: England Circa: 1836 AD to 1888 AD Dimensions: 5.5" (14.0cm) high x 7.5" (19.1cm) wide Collection: Decorative Style: English School Medium: Oil On Board   « Less

Marguerite Gérard was born in Grasse in 1761. Her sister Marie-Anne was also a painter known for her miniatures. While Marguerite was no doubt influenced by her  More »

Marguerite Gérard was born in Grasse in 1761. Her sister Marie-Anne was also a painter known for her miniatures. While Marguerite was no doubt influenced by her sister’s work, it was her brother-in-law who would have a more profound impart on her artistic style. Jean- Honoré Fragonard was one of the most popular painters of his day. In 1777, at the age of sixteen, Marguerite moved in with her sister and famed brother-in-law. However, by this time, Fragonard’s flamboyant rococo style had begun to fall out of fashion with the public. Marguerite studied under Fragonard, and she quickly became one of his best pupils. However, it seems that her preference for 17th Century Dutch Baroque interior masters such as Ter Borch and Metsu might have influenced Fragonard himself as he adapted his style to meet the changing tastes of collectors. It is clear that these two artists collaborated on numerous works and there is a remarkable similarity between the detailed fabrics in Fragonard’s later works and in Gerard’s works of the late 18th Century. In fact some scholars have even attributed one of Fragonard’s most beloved paintings, Le Baiser a la Derobee, to his prized pupil. By the end of the 18th Century, it appears that Gérard had abandoned open air scenes for good, choosing instead to concentrate upon domestic interiors where children and cats were prominently featured. Later, in 1837, she passed away in Paris. Gérard was one of the most successful female artists of her day whose work, while harkening back to the Baroque era, impacted the art of those around her. L'amour S'en Va by Marguerite Gerard - X.0192Origin: France Circa: 1780 AD to 1800 ADDimensions: 18.5" (47.0cm) high x 15" (38.1cm) depth Collection: Decorative Style: Late Rococo/Early Neo-Classical Medium: Oil on Canvas   « Less

Oil Painting of a Young Couple - X.0511Origin: Europe Circa: 18 th Century ADDimensions: 59.50" (151.1cm) high x 49.50 " (125.7cm) wide Collection: Decorative Style: Romantic  More »

Oil Painting of a Young Couple - X.0511Origin: Europe Circa: 18 th Century ADDimensions: 59.50" (151.1cm) high x 49.50 " (125.7cm) wide Collection: Decorative Style: Romantic Medium: Oil on Canvas   « Less

Who is responsible for such a stunning masterpiece? Heralded as one of the leading Flemish painters in Bruges following the death of the impeccable Hans Memling, Gerard David  More »

Who is responsible for such a stunning masterpiece? Heralded as one of the leading Flemish painters in Bruges following the death of the impeccable Hans Memling, Gerard David (ca.1450-1523) became an imperative figure in Flemish Primitive painting. David, who was a native of Oudewater, Holland, arrived in Bruges in 1484 and maintained his workshop until his death in 1523. Similar to many other Flemish Primitive painters, David incorporates court life, noble practices, and emotional depth in his works. Though he shares these resemblances, David always preserved a haut level of sophistication, elegance, and grace in his own right. These elements of refinement are clearly visible in the Madonna and the Christ, a painting which exquisitely portrays the Madonna or Virgin Mary embracing the lifeless body of her child, Jesus Christ. Apparently, Christ has just been taken down from the cross on which he had been crucified, hence the wooden beam standing erect in the background. The spectator cannot ignore the intensity of such realism in the rippling of Mary’s clothing, the arresting frailty of Christ, and the dazzling light schemes. One is not exposed to a diversity of color; instead there is a subtlety very typical of David’s later style. Yet, however subtle the color may be, the viewer’s eyes are instantly drawn to the muted, bitter blue cloak, framed with a pale golden inlay in which Mary is enveloped. Upon further inspection, one discovers that atop Mary’s head, a particular region of her garment becomes transparent to reveal a white article of clothing. Is this perhaps a mistake on David’s part or was this intentional? Or, this translucency may even be indicative of a light source beaming down over Mary. Another source of light shines on Jesus and accentuates brightness on his right shoulder. With such a use of light and shadow, David directs the viewer’s eyes to the Madonna’s hands resting tenderly upon Jesus. If one pays enough attention to the body of Christ, one can see a grayish blue vein bulging from his neck as well as reddish tones across the left half of his torso, which may all insinuate his physical sufferings. Mary’s blue garment is contrasted by her scarlet red sleeves, which not only touch Christ but may also signify the blood of her son that has been shed. With little to no decoration in the painting, David centralizes his focus on Mary and Christ. Much motherly compassion is shown not just through the way in which she gently holds her dead child, but also the sorrowful expression upon her face. With the exception of her thinly arched eyebrows, Mary lacks femininity and instead bears somewhat masculine features; including her prominent cheek bones which protrude outwards and reduce the curvature in her face. Despite such pronounced features, Mary has a nurturing quality about her. It is she who was always aware of her son’s destiny, and therefore exudes much sorrow and melancholy. This work of genius demonstrates precision, realism as well as the emotional profundity in David’s interpretation of the Madonna and the Christ; a subject which has been produced countless times by other artists. - (LO.648)   « Less

Oil Painting of a Violin Player - PF.1493dc Origin: Europe Collection: Decorative Art Medium: Oil on Canvas

Oil Painting of a Violin Player - PF.1493dc Origin: Europe Collection: Decorative Art Medium: Oil on Canvas   « Less