19 Portraits of Barbara Villiers; Duchess of Cleveland and mistress to Charles II

Sir Peter Lely. A 17th Century
Portrait of Barbara Villiers

Oil on Canvas
28 ins x 23½ ins (71 cms x 60 cms)
Private collection

Barbara Palmer, 1st Duchess of Cleveland, Countess of Castlemaine, also known as Lady Castlemaine (27 November 1640–9 October 1709) was an English courtesan from the Villiers family and perhaps the most notorious of the many mistresses of King Charles II of England, by whom she had five children, all of whom were acknowledged and subsequently ennobled. Her influence was so great that she has been referred to as “The Uncrowned Queen.”…

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19 Portraits of Barbara Villiers; Duchess of Cleveland and mistress to King Charles II

Sir Peter Lely. A 17th Century
Portrait of Barbara Villiers

Oil on Canvas
28 ins x 23½ ins (71 cms x 60 cms)
Private collection

Sir Peter Lely (14 September 1618–30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Lely studied painting in Haarlem. He became a master of the Guild of Saint Luke in Haarlem in 1637.

He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits. Lely’s portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers’ Company in 1647 and was portrait artist to Charles I. His talent ensured that his career was not interrupted by Charles’s execution, and he served Oliver and Richard Cromwell. More on Sir Peter Lely

Barbara was the subject of many portraits, in particular by court painter Sir Peter Lely. Her extravagance, foul temper and promiscuity provoked diarist John Evelyn into describing her as the “curse of the nation”, whereas Samuel Pepys often noted seeing her, admiringly…

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NATALIE GOLDSTEIN, QUINTESSENTIALLY BRITISH 01 work, PORTRAIT OF A LADY, with Footnotes. #97

NATALIE GOLDSTEIN
NATALIE GOLDSTEIN, b. 1974
QUINTESSENTIALLY BRITISH, 2018
Chromogenic print
121.9 by 91.4cm.; 48 by 36 in.
Private collection

Natalie Goldstein is a photographer. Having spent years in front of the camera as a model, Natalie developed her own unique understanding of the profession, both technically and artistically. Natalie’s eye is drawn to the aesthetics of the human form, beyond merely the body beautiful. Her subjects are poised and positioned to suggest Da Vinci’s divine proportions of humanity. They are athletic. They are graceful. They speak of refined elegance.

Natalie grew up surrounded by fashion as a culture, she immersed herself with magazines and books on Versace and the like. Natalie recognised that in order to create impactful photography, she had to take it out of the bounds of traditional fashion editorial work and create iconic images that transcend place or time.

Natalie’s work is suggestive and at times provocative. She has the technical know-how to create incredible moving lenticular pieces, undertakes private commissions and has fashioned an artistic form of expression that is energetic, exquisitely constructed and for the viewer captivatingly stunning. More on Natalie Goldstein




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Montague Dawson, Night Suspect Pursuit 01 Classic Works of Art, Marine Paintings – With Footnotes, #121

Montague Dawson2

Montague Dawson, British, 1895-1973 

Night Suspect (A British Coast Guard Cutter in Pursuit) 

Oil on canvas

25 x 36 inches (61 x 91.5 cm)

Private collection

The painting depicts the dramatic chase on a moonlit night by the British Coast Guard, firing a canon at suspected smugglers in the English Channel. More on this painting

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (1811–1878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (1841–1917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

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Samuel Walters, THE BRITISH MERCHANTMAN CLIFFORD IN A STIFF BREEZE 01 Classic Works of Art, Marine Paintings – With Footnotes, #111

Samuel Walters, LONDON 1811 – 1882 LIVERPOOL

THE BRITISH MERCHANTMAN CLIFFORD IN A STIFF BREEZE, PREPARING TO PICK UP HER PILOT OFF THE GREAT ORME, NORTH WALES, ON THE RETURN FROM HER MAIDEN VOYAGE TO INDIA, c. 1885

Oil on canvas

63.5 x 99.2 cm.; 25 x 39 in.

Private collection

The iron ship Clifford was built by the renowned Liverpool firm Thomas Royden & Sons in 1864. Walters portrays the vessel here flying the Royden house flag with the pilot jack at the foremast; the pilot cutter itself is pictured in the distance converging on the same tack. The mountains of North Wales may be seen above the Little Orme on the extreme left, while the Great Orme projects towards the ship’s bowsprit and the coastal town of Llandudno lies in between. Astern of the ship is the north-west corner of the Anglesey coast. More on this painting


Samuel Walters (1811 – 1882) was an English maritime artist, considered to be the most enduring figures of the Liverpool School of Marine Art. He was born in London. Samuel moved to Liverpool and began to exhibit work in 1830. He became a member of the Liverpool Academy of Arts in 1841. He had work exhibited at the Royal Academy from 1842 to 1861 and also lived in London from 1845 to 1847, before returning to Liverpool to live in Bootle.


He specialised in oil paintings and watercolours on canvas. The Liverpool Museums Resource lists more than 10 of his paintings as being on permanent display in Liverpool, as well as a collaboration between Walters and his father. Some famous ships he painted include the CSS Florida and CSS Alabama. More Samuel Walters

Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

 

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Montague Dawson, British, 1895-1973 Night Suspect (A British Coast Guard Cutter in Pursuit) 01 CLASSIC WORKS OF ART, MARINE PAINTINGS – WITH FOOTNOTES, #125

Montague Dawson, British, 1895-1973 

Night Suspect (A British Coast Guard Cutter in Pursuit) 

Signed Montague Dawson(ll) 

Oil on canvas 

25 x 36 inches (61 x 91.5 cm) 

Private collection

The painting depicts the dramatic chase on a moonlit night by the British Coast Guard, firing a canon at suspected smugglers in the English Channel. More on this painting

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

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02 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3 C

Circle of Sir John Hoppner, (British, 1758–1810)

Portrait of Lady Mackintosh

Oil on canvas

30 x 25 in. (76.2 x 63.5 cm.)

Private collection

Lady Anne Farquharson-Mackintosh (1723–1784) was a Jacobite of the Clan Farquharson and the wife of Angus, Chief of the Clan MacKintosh. 

The Jacobite were a political movement in Great Britain and Ireland that aimed to restore the Roman Catholic Stuart King James VII of Scotland  to the thrones of England

Early in 1744 Angus was offered one of three new Independent Companies being raised by John Campbell, 4th Earl of Loudoun. Anne, dressed in male attire, rode around the glens and, in a very short time, enlisted 97 of the 100 men required for the captaincy. During the 1745 Jacobite Uprising, Angus’ company fought with Lord Loudon’s government forces, the Black Watch, in the Highlands.

When Bonnie Prince Charlie, Charles Edward Stuart, landed in Scotland in 1745, Anne, then 22 years old, forcefully raised between 200 and 400 men from Clan Mackintosh and the Chattan Confederation for the Prince. As women could not command in the field, the regiment was placed under the command of MacGillivray of Dunmaglass. ‘Colonel’ Anne’s regiment joined the Prince’s army at Bannockburne, in January 1746…

John Hoppner RA (4 April 1758 – 23 January 1810) was an English portrait painter, who achieved fame as a brilliant colourist. Hoppner was born in Whitechapel, London, the son of German parents – his mother was one of the German attendants at the royal palace. King George showed a fatherly interest and patronage of the young boy that gave rise to rumours, quite unfounded, that he may have been his illegitimate son.

Hoppner became a chorister at the royal chapel, but, showing strong inclination for art, in 1775 he entered the Royal Academy. In 1778 he took a silver medal for drawing from life, and in 1782 the Academy’s highest award, the gold medal for historical painting, his subject being King Lear.

Hoppner first exhibited at the Royal Academy In 1780. His earliest love was for landscape, but necessity obliged him to turn to the more lucrative business of portrait painting. At once successful, he had throughout life the most fashionable and wealthy sitters. The Prince of Wales visited him especially often, and many of his finest portraits were hung in the state apartments at St James’s Palace.

In 1803 he published A Series of Portraits of Ladies, and in 1805 a volume of translations of Eastern tales into English verse. More on John Hoppner

Allan Ramsay

Lady Mackintosh, c. 1745 – 1746

Broadside (printing)

National Library of Scotland

A month later the Prince was staying at Moy Hall, Lady Anne’s home. She received a message that 1,500 of Lord Loudon’s men, including her husband’s company, were planning a night raid on Moy Hall to snatch the Prince. Anne sent five of her staff out with guns to crash about and shout clan battle cries to trick the Government forces into thinking they were about to face the entire Jacobite army. The ploy worked and the Government force fled. The event became known as The Rout of Moy.

The next month her husband and 300 of Loudon’s men were captured north of Inverness. The Prince paroled Captain Mackintosh into the custody of his wife, Lady Anne, commenting “he could not be in better security, or more honourably treated.” She famously greeted him with the words, “Your servant, captain” to which he replied, “your servant, colonel” thereby giving her the nickname “Colonel Anne”. She was also called La Belle Rebelle by the Prince himself.

After the Battle of Culloden, Lady Anne was arrested and turned over to the care of her mother-in-law for a time. She later met the Duke of Cumberland at a social event in London with her husband. He asked her to dance to a pro-Government tune and she returned the favour by asking him to dance to a Jacobite tune. She died on 2 March 1784 at Leith. More on Lady Mackintosh

Allan Ramsay (13 October 1713 – 10 August 1784) was a prominent Scottish portrait-painter. He was born in Edinburgh, Scotland. From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin’s Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years.

On his return in 1738, he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater. In 1739 he married his first wife, Anne Bayne. Anne died on 4 February 1743, giving birth to their 3rd child; none of their children reached adulthood.

One of his drawing pupils was Margaret Lindsay. He later eloped with her and on 1 March 1752 they married in Edinburgh; her father never forgave her for marrying an artist. Ramsay and his new wife spent 1754 to 1757 together in Italy, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists’ portraits. After their return, Ramsay was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III. The king commissioned so many royal portraits to be given to ambassadors and colonial governors, that Ramsay used the services of numerous assistants.

He gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by an accidental dislocation of the right arm and his second wife’s death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy. He left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784. More Allan Ramsay

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01 PAINTINGS OF THE CANALS OF VENICE BY THE ARTISTS OF THEIR TIME, WITH FOOT NOTES. #22

Peter Kuhfeld (British, born 1952)

Venetian canal scene 

Oil on board

24.5 x 62cm (9 5/8 x 24 7/16in).

Private collection

Peter Kuhfeld (born 4 March 1952) is an English figurative painter. He was born in Cheltenham and is married to the English figurative painter Cathryn Kuhfeld, née Showan. They have two daughters who have often appeared in their paintings.


Between 1972-76 he studied at Leicester School of Art. He worked from 1976-1978 at Rugby School of Art, where he gave lessons in drawing and painting, before securing a place at the prestigious Royal Academy School of Art. During 1977-80 Kuhfeld studied under the painter Peter Greenham CBE, RA. In 1978 he was created a Freeman of the Worshipful Company of Painters.


While at the Royal Academy Schools Kuhfeld won various notable scholarships and prizes: 1978-79 David Murray Landscape Prize; 1979 Royal Academy of Art Silver Medal for Drawing, Royal College of Surgeons Dooley Prize for Anatomical Drawing; 1980 Elizabeth Greenshield Foundation Scholarship and Richard Ford Scholarship for study in Spain.


In 1985 the New Grafton Gallery in London gave Kuhfeld his first major exhibition, with the painter Christa Ga, which helped establish him as one of the up-and-coming members of the New English Art movement. In 1986 Kuhfeld was elected to membership of the New English Art Club. In 1992 he became an elected member of the Royal Society of Portrait Painters, which he resigned in 2005. In 2009.

In 2012, he was commissioned by Charles, Prince of Wales to paint the royal wedding of Prince William, Duke of Cambridge and Catherine, Duchess of Cambridge. Prince Charles has been a patron of his and Kuhfeld painted portraits of Prince William and Prince Harry in 1986. More on Peter Kuhfeld

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01 CLASSIC WORKS OF ART, MARINE PAINTINGS – WITH FOOTNOTES, #74

Raymond Massey, British/American, b. 1938 

Ferry to Brooklyn, New Amsterdam in 1660, 1981 

Oil on Masonite 

25 7/8 x 42 inches (65.8 x 106.6 cm) 

Private collection

New Amsterdam was a 17th-century Dutch settlement established at the southern tip of Manhattan Island that served as the seat of the colonial government in New Netherland. The fort was situated on the strategic southern tip of the island of Manhattan and was meant to defend the fur trade operations of the Dutch West India Company in the North River (Hudson River). In 1624, it became a provincial extension of the Dutch Republic and was designated as the capital of the province in 1625.


New Amsterdam was renamed New York on September 8, 1664, in honor of the Duke of York, in whose name the English had captured it. After the Second Anglo-Dutch War of 1665–1667, England and the United Provinces of the Netherlands agreed to the status quo in the Treaty of Breda. The English kept the island of Manhattan, the Dutch giving up their claim to the town and the rest of the colony, while the English formally abandoned the island of Run in the East Indies to the Dutch, confirming their control of the valuable Spice Islands. Today much of what was once New Amsterdam is New York City. More on New Amsterdam

Born in Newscastle-on-Tyne, England, Raymond A. Massey is a self-taught artist who came to the United States when he was 10 and made his home in Buffalo, New York since the age of 14. A member of the Nautical Research Guild, he was elected an artist member of the American Society of Marine Artists, which was established in 1978 to encourage the preservation and appreciation of maritime history through art.

Massey’s works have appeared in numerous art shows and galleries from coast-to-coast in the United Stares, and Canada.

He is also published a number of books, and once wrote about historic Buffalo for the Buffalo Courier Express and illustrated historic Buffalo features in that newspaper. More on Raymond A. Massey 

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01 PAINTINGS OF THE CANALS OF VENICE BY THE ARTISTS OF THEIR TIME, WITH FOOT NOTES. #19

Richard Price (British, born 1962)

Santa Maria Formosa 

Oil on canvas board

30.5 x 40.5cm (12 x 15 15/16in).

Private collection

Santa Maria Formosa is a church in Venice, northern Italy. It was erected in 1492 under the design by Renaissance architect Mauro Codussi. It lies on the site of a former church dating from the 7th century, which, according to tradition, was one of the eight founded by San Magno, bishop of Oderzo. The name “formosa” relates to an alleged appearance of the Holy Virgin disguised as a voluptuous woman. More on Santa Maria Formosa

Richard Price (British, born 1962) is a member of the Royal Institute of Oil Painters and sells his work internationally. He has exhibited at the Royal Academy of Arts and the Royal College of Arts. Richard is Artist in Residence for Jubilee Year at the Hurlingham Club.

Richard’s work is concerned with light and atmosphere. While some of his work is done in the studio, Richard is predominantly an ‘en plein air’ painter and most of his work is therefore painted immediately in front of his subject.

The challenge of this type of work is in being able to rapidly analyze colour and tone at the same time as capturing the constantly moving drama of the environment. More on Richard Price

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01 PAINTINGS OF THE CANALS OF VENICE BY THE ARTISTS OF THEIR TIME, WITH FOOT NOTES. #21

Bernard Dunstan R.A. (British, 1920-2017)

‘The Mirror, Venice’, c. 1986

Oil on canvas

69 x 73cm (27 3/16 x 28 3/4in).

Private collection

Bernard Dunstan RA (19 January 1920 – 20 August 2017) was a British artist, teacher, and author, best known for his studies of figures in interiors and landscapes. At the time of his death, he was the longest serving Royal Academician.


Dunstan was born in Teddington, Middlesex, in 1920. He studied at Byam Shaw School of Art in 1939, then at the Slade School of Fine Art in London from 1939 to 1941. In 1947 he was elected a member of the New English Art Club, and was president of the Royal West of England Academy from 1979 to 1984. In 1968 he was made a full member of the Royal Academy.


Dunstan taught at the Royal West of England Academy in Bristol from 1946 to 1949, the Camberwell School of Art from 1950 to 1964, the Byam Shaw School from 1953 to 1974, the Ravensbourne Art College (now the Ravensbourne College of Design and Communication) from 1959 to 1964, and City and Guilds of London Art School from 1964 to 1969.


Artists whose influence inform his painting include Renoir, Bonnard, Vuillard, Walter Sickert, and Philip Wilson Steer.


His works are represented in the National Portrait Gallery, the Royal Collection, Windsor, and the Museum of London. He has written a number of books on painting, including Painting Methods of the Impressionists (1976).


He died on 20 August 2017, aged 97. More on Bernard Dunstan

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