Null After Sir Peter Lely Portrait of Oliver Cromwell (1599-1658), bust-length i…

Description

After Sir Peter Lely Portrait of Oliver Cromwell (1599-1658), bust-length in armour, in a painted stone cartouche oil on canvas 73 x 61cm Condition Report: Overall: 107 x 94cm 19th century. Craquelure and surface dirt. Losses and abrasions with the potential for flaking. Not examined under UV light, for a full report please contact the department.

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After Sir Peter Lely Portrait of Oliver Cromwell (1599-1658), bust-length in armour, in a painted stone cartouche oil on canvas 73 x 61cm Condition Report: Overall: 107 x 94cm 19th century. Craquelure and surface dirt. Losses and abrasions with the potential for flaking. Not examined under UV light, for a full report please contact the department.

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MAURITIUS - BANKNOTE : 200 RUPEES 1985 - Portrait of Sir Seewoodsagur Ramgoolam, Governor General of the Island, butterfly and coat of arms - Reverse: "le réduit" buildings - SPL

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The Ecstasy of Saint Gregory, after Flemish Baroque models, after Peter Paul Rubens, 19th century Oil on canvas, canvas measures: 101 x 61 cm, frame not attached.

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English school; circa 1700. "Portrait of a Knight of the Order of the Garter". Oil on canvas. Relined. Presents faults in the frame. Measurements: 63 x 48 cm; 79 x 64 cm (frame). Portrait of a gentleman that presents the bust of a young man wearing a wig. The man, as it is habitual in the portrait painting of the time, is inscribed on a neutral background of ocher tonality on which stands out the iridescent blue lead of the clothes and the snowy face with rosy cheeks of the protagonist. It is these touches of white that turn the face into the main focus of the piece's illumination. A resource through which the author enhances the corporeality of the figure, which is monumentalized with the darkness and the volume of the wig itself. The position of the body, erect and with a straight back, combines a regal with an air of distinguished authority. The composition shows great skill in the drawing, which gains prominence over color. An example of this is the use of a measured palette, without great stridency, in which the author has sought a balance between the different tonalities. Another common feature, typical of the portraits of this period, and which is reflected in this work in particular, is the interest in capturing reality, reflecting truthfully the features of the protagonist, but without leaving aside the idealization, so we see an effigy with soft, rounded, and friendly forms. The young man is fashionably dressed and the qualities of the fabrics are faithfully portrayed by the artist. The delicacy of the drawing, the composition and the style bring the work closer to the aesthetics of the English school. Specifically to the painting of the artist Mary Beale (1633-1699). A professional painter from the mid-1650s, Mary Beale painted numerous portraits, mostly of her family and friends, including prominent churchmen. Her father's acquaintance with the artist Sir Peter Lely, who took over from Van Dyck as court painter, fostered a friendship between the royal painter and Mary, who copied many of his paintings as an indispensable part of her training, which was largely self-taught. It was this exercise that led to her being praised by Peter Lely himself. Many details of her busy professional life are recorded in the notebooks of her husband, who was her studio assistant. It presents faults in the frame.

Starting price 220 EUR

G. MAILE (1800) after RUBENS (1577), Self-portrait Rubens, Portrait of an artist, Mezzotint Georges Maile (1800 London - 1842 Paris) after Peter Paul Rubens (1577 Siegen - 1640 Antwerp): Self-portrait of the painter Peter Paul Rubens at the age of 46 in a coat with a wide-brimmed hat, 19th century, Mezzotint Technique: Hand colored Mezzotint on Paper Inscription: At the lower part signed in the printing plate: "Rubens Pinx. | Goubaud Del. | G. Maile Sculp.". Date: 19th century Description: The portrait in the bust shows the artist Peter Paul Rubens, dressed in a jacket with an expansive fur collar and silk lacing. He wears a wide-brimmed hat and looks slightly to the side. The facial expression is calm and dignified, with a soft depiction of the skin and precisely rendered curls in the hair. The background is restrained so that the focus is on the figure. Person: Peter Paul Rubens (1577 - 1640 ) Keywords: Self-portrait; historical clothing; fur collar; wide-brimmed hat; sideways glance; dignity; soft skin;, 19th century, Romanticism, Portraits, United Kingdom, Size: Paper: 46,0 cm x 34,0 cm (18,1 x 13,4 in), Plate: 44,6 cm x 33,0 cm (17,6 x 13 in), Depiction: 40,5 cm x 30,4 cm (15,9 x 12 in)

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