Portrait of Philip II of Spain (1527–1598), full-length, wearing armour and the Order of the Golden Fleece, with inventory number ‘406’ and inscribed lower left: Philippe 2 Reÿ de Spañia, oil on canvas, 201 x 121 cm, framed
Tara Chand, the Court Painter at Udaipur by William Carpenter, painting, watercolour on paper, India, 1851.
Empress Maria Theresia by Austrian court painter (auctioned by Dorotheum). From dorotheum.com/en/l/160936/; removed spots throughout image with Photoshop.
Stay up to date with Vladimir Orlovsky (Ukrainian, 1842 - 1914) . Discover works for sale, auction results, market data, news and exhibitions on MutualArt.
Painter and Jesuit Priest Giuseppe Castiglione arrived in China in 1715 and passed his life at the Court of Emperors K'ang-hsi, Yung-cheng and Ch'ien-lung
Portrait of the Imperial Privy Councillor Anton Rummel von Lichtenau, his coat of arms at upper left, oil on canvas, 64 x 51.5 cm, framed Provenance: Collection Knights of Vintler, Brunico/South Tyrol; sale, C. J. Wawra, Vienna, 29 January 1919, lot 208 (as Tyrolean master, 16th century); Private collection, SwitzerlandThe present painting seems to have been in the collection of the knights of Vintler, one of Tyrol’s oldest families, for a considerable length of time. There exists a copy by the Austrian painter Fanny Inama von Sternegg (1870–1928) from 1902 that was obviously made before the present original was relined. An inscription on the stretcher of the copy reads: “The original is in the Vintlers’ collection in Brunico.” Moreover, the copy is inscribed on the reverse: “Moroni ? pinx.”. Whether this inscription was copied from the original before it was lined can no longer be said with certainty. It is interesting that a portrait of Count Oswald Trapp I at Castel Coira in South Tyrol by the same artist has also been attributed to Moroni. The portrait of Anton Rummel von Lichtenau is by the hand of a portraitist active at the court of Innsbruck or Vienna, such as Paul Dax, Ottavio Zanuoli, or Michael Praun. Anton Rummel von Lichtenau (1462–1538) had acquired wealth and recognition through his marriage into the noble Kripp family, who had made their fortune in the silver mining business, and with Martha von Spaur. He was a senior official in the service of the archbishop of Bressanone in Brunico and was appointed imperial privy councillor by Charles V. The city in the right background can possibly be identified as Brunneck in the Pustertal valley.
A portrait of an elegant lady in an oriental dress, oil on copper, 43.1 x 28.5 cm, framed The present painting is an excellent example of the “Turkish fashion” that had been prevalent in Europe since the end of the Siege of Vienna and the beginning of intensified diplomatic relations with the Ottoman Porte. However, the costume depicted here is probably Persian. Two comparable paintings are preserved in the Museum for Orientalist Painting in Doha, Qatar. A possible author may be Ludwig Ivenet, who painted a series of small portraits of the family of Margrave Louis William of Baden-Baden, nicknamed “Turkish Louis”, in oriental costumes for the decoration of Favorita Palace at Rastatt. The elaborately adorned costumes in these paintings are very similar to the one in the present painting, showing a wealth of details, such as delicately patterned fabrics and garments set with pearls and precious stones. The pictures also include a number of traditional national costumes, occupational uniforms, and mythological disguises. Originally, Margravine Sibylla Augusta had more than seventy pictures integrated in the Mirror Hall of her new summer residence, fifty-six of which have survived at Rastatt.
Iglesia del Corpus Chisti,convento de "Las Carboneras" Retablo Mayor. “Santa Cena” de Vicente Carducho, pintor de la Corte de Felipe III que se conserva en su lugar desde que fue inaugurado en 1625. Church of Corpus Chisti, convent of "Las Carboneras" Greater Altarpiece. "Santa Cena" by Vicente Carducho, painter of the Court of Felipe III that has been preserved in its place since it was inaugurated in 1625
The favourite painter of the duke Alfonso d’Este assimilated and merged the elements of the great Masters of the late Renaissance in a personal style comparable to the poetry of his friend Ariosto….
Portrait of Archduke Albrecht VII of Austria (1559–1621) in ceremonial armour, oil on canvas, 125 x 103.5 cm, framed The present portrait of Archduke Albrecht was previously unknown. Similar depictions by both Peter Paul Rubens (oil on canvas, 190.5 x 127 cm, Chrysler Museum of Art, Norfolk (Virginia), Inv. r L80.126) and Otto van Veen (oil on canvas, 46.5 x 37 cm, Royal Museum of Fine Arts, Brussels, Inv. N3291) are known. Peter Paul Rubens’s full-length portrait in the Chrysler Museum of Art, Norfolk, Virginia, differs from the present painting in fundamental details, whereas Otto van Veen’s small-sized bust in the Musées Royaux des Beaux-Arts in Brussels closely resembles the present picture. Attributions to the Rubens workshop and Otto and Gijbrecht van Veen have been suggested. In all of the three portraits, the archduke wears a suit of ceremonial armour from Milan, which has survived in the Koninklijk Legermuseum in Hallepoort. Albrecht wore this suit of armour during his festive entrances into the towns of the Spanish Netherlands in 1599 and 1600. The present painting is an excellent example of stately portraiture influenced by Peter Paul Rubens.
This Wall Decor item is sold by BellaMercato. Ships from Dayton, OH. Listed on Feb 16, 2025
Den Bosch - De Verwersstraat
Diego Rodríguez de Silva y Velázquez baptised June 6, 1599 -- August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip I...
Painter William LaChance has designed an abstract, technicolour basketball court in his native St Louis, Missouri, for Project Backboard. The initiative aims to transform public basketball courts, using them as “a canvas for creative expression to strengthen communities and inspire multi-generational play”.
Portrait of a lady in red wearing a ruff, oil on panel, 40 x 26.7 cm, framed Provenance: Sir Percy Malcolm Stewart, 1st Baronet (1872–1951), The Lodge, Sandy, Bedfordshire; by descent to the former owner The present painting was part of an outstanding collection of English portraits from the Tudor and Stuart periods owned by Sir Percy Stewart. Sir Percy partially left the collection to the National Trust, where it is now exhibited at Montacute House, South Somerset. The present painting was formerly regarded as a work by François Clouet or a member of his school. Today we know that it was painted in Flanders (we are grateful to Alexandra Zvereva for her help). It belongs to a group of small female portraits and probably formed part of a so-called ‘Gallery of Beauties’, which was extremely popular at European courts in those days. Given the high degree of idealisation and the fact that this was an international phenomenon, it is difficult to identify individual artists or the names of the ladies depicted. In the present case the painter may possibly be determined through comparison of the portrait in question with other works. It is probably by the same hand as a portrait sold at Christie’s, London, on 4 July 2012. This latter work allegedly shows Hürrem Haseki Sultan, also known as Roxelana. In all likelihood it is based on a lost portrait by Titian and is inscribed: DI MANO FIAM(MINGO). A further example belonging to this group is a female portrait relying on Bronzino, which was sold at Sotheby’s, London, on 6 December 2005 as lot 560 (‘Florentine School c. 1580’). The sitter was identified as a member of the House of Medici. Several stylistic and technical similarities between these paintings suggest that they formed part of a group and were painted by one and the same artist, who might have been a Fleming active at Italian courts. Another painting that seems to form part of this group is in the Palazzo Ducale in Mantua (cf. B. W. Meijer, Repertory of Dutch and Flemish Paintings in Italian Public Collections, vol. 2, part 2, Florence, 2002, p. 98). It is attributed to the Flemish painter Jean (Giannino) Bahuet (Liège c.1552–1597 Mantua), the court painter to Duke Vincenzo I Gonzaga. Bahuet painted almost exclusively such idealised female portraits, which the duke presented in his ‘Gallery of Beauties’. Moreover, he also executed numerous copies of portraits he found at neighbouring courts. It is known that the duke also commissioned Rubens with the production of replicas based on famous models when the artist stayed at the Mantua court. Bahuet is documented to have been in Florence as early as 1575, where he copied portraits of Grand Duke Francesco I and his daughter, Eleonora de’ Medici (cf. V. Pagani, Notes on a Flemish Portraitist at the Court of Vincenzo Gonzaga, in: The Burlington Magazine, vol. 129, no. 1007, February 1987, pp. 110–115). After Bahuet’s death in 1597, his position remained vacant until the arrival of Frans Pourbus the Younger (1600). Most of Bahuet’s works are lost. Nevertheless attempts are made to reconstruct his oeuvre. The inscription ‘DI MANO FIAM(MINGO)’ on the reverse of the portrait of Roxelana sold in 2012 seems to refer not only to the painter’s nationality, but also to his name. The account books of the ducal palace in Mantua contain information relating to payments made to ‘M. Gio Fiamingo’. The unidentified author of a sonnet written in Rome around 1575 praises a now-lost portrait of Vittoria Velli Cavalieri (c. 1546–1615) by Bahuet and compares his art to that of Jacopino del Conte. We are grateful to Marta Privitera, who has suggested an alternative attribution of the present painting to Lorenzo dello Sciorino.
Op zoek naar de hotspots in Den Bosch en de mooiste plekjes om te gaan fotograferen? Deze 8 locaties in mag je niet overslaan in 's Hertogenbosch!
Carl Schweninger II 1854-1903 Oostenrijk
