Painting – Zaidan Gallery

01 work, PORTRAIT OF A LADY, Jehangir Sabavala’s Sorcerer – II, with Footnotes. #192

Jehangir Sabavala, (1922 – 2011)
The Sorcerer – II, c. 2007
Serigraph on paper
24.75 x 33 in (62.7 x 83.6 cm)
Private collection

Sold for Rs 1,51,525 | $2,048 in March 2022
Jehangir Sabavala (23 August 1922 – 2 September 2011). He studied at Cathedral and John Connon School, Elphinstone College, and earned a diploma from Mumbai’s Sir J. J. School of Art in 1944. Thereafter he went to Europe and studied at the Heatherley School of Fine Art, London, (1945–47), and in Academie Andre Lhote, Paris (1948–51), the Académie Julian (1953–54), and finally at the Académie de la Grande Chaumière in 1957

Since 1951, he has held 31 major solo exhibitions across the subcontinent, and in Europe. He has participated in more than 150 group exhibitions all over the world. His work is in several important private and public collections, such as the National Gallery of Modern Art, New Delhi, Birla Academy of Fine Arts, Calcutta, Parliament House, New Delhi, The Punjab Government Museum, Chandigarh, Air India Mumbai, Tata Institute of Fundamental Research, Mumbai, The National gallery of South Australia, Adelaide.

Sabavala did not allow archives of his 12 scrapbooks on materials from the early 1940s to the 2000 online. Arun Khopkar’s film on Sabavala’s life and art, Colours of Absence, won the National Award in 1994. In 2010, another film about his life was made, The Inheritance of Light: Jehangir Sabavala. His last solo exhibition, Ricorso, was held at the Sakshi Gallery, Mumbai, in 2008. More on Jehangir Sabavala

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01 Work, PORTRAIT OF A LADY, Simple- T’s Untitled, with Footnotes #191

Simple- T, Germany
Untitled, c. 2010
Photography, Color on Paper
15.8 W x 23.6 H x 0.1 D in
Private collection

Selling for C$634 as of June, 2023

Simple- T is an International award-winning Fine Art Photographer based in Nürnberg, Germany. Born in Bucharest, Romania, she started Fine Art Photography in 2010 and has already been recognized internationally, being featured in numerous media worldwide.

Her work has been exhibited nationally and internationally in New York, Barcelona, London, Rome, Florence, Sydney and Paris.

The focus of her work are people, places and stagings. Tabea shoots almost exclusively with natural daylight.

”My Images manifested my feelings, dreams, experiences and encounters.”

I am not afraid of going beyond established boundaries and I like people who are curious to find out what is behind a facade.’’ More on Simple- T

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01 work, PORTRAIT OF A LADY, Mela Muter’s Motherhood, with Footnotes #191

Mela (Maria Melania) Muter (Mutermilch) (1876 – 1967)
Motherhood/ Maternité, c. 1924
Oil on canvas
130 x 97 cm
Private collection

Was sold for 1,050,000 PLN on March 2022

The theme of motherhood returned to the painter’s work many times. Her career begins with the author’s Breton episode and the composition “Sad Country” (1906). More than once, Muter emphasized the miserable expression of their existence in the images of mothers and children. Regardless, she often displayed tenderness between them. More on this painting

Mela Muter is the pseudonym used by Maria Melania Mutermilch (April 26, 1876 – May 14, 1967). She lived most of her life in France. Muter’s painting career began to flourish after she moved to Paris from Poland in 1901 at the age of twenty-five. Before World War I, Muter’s painting practice aligned itself with the Naturalism movement; her signature works containing vivid hues and strong brush strokes. Muter gained swift popularity in Paris and within five years of her residency in the city, had already begun showing her works. Muter received French citizenship in 1927. After the breakout of WWII Muter fled to Avignon for safety during the Nazi occupation. After the war, Muter returned to Paris where she worked and resided until her death in 1967.

In the early ages of Muter’s work, she could be classified with the post-impressionists due to the pattern and application of her paint. In style and application of paint, Vincent Van Gogh can be seen as a clear influence on Muter’s earlier work. By her early thirties, Muter’s painting style was distinguished with heavy brushstrokes that layered paint around the faces and hands of the people she painted to signify areas of importance. In her full adulthood, Muter’s work had ties with the expressionist movement, marked by a brighter color palette and more pointed compositions, often leaving areas of the canvas bare.

01 work, PORTRAIT OF A LADY, Adriano Cecchi’s A North African Woman, with Footnotes #190

Adriano Cecchi, Italian, 1850 – 1936
A North African Woman
Oil on canvas
73.7 by 59.6cm., 29 by 23½in.
Private collection

Sold for 6,930 GBP in March 2022

Adriano Cecchi was an Italian artist with an affinity for coquettish, rococo portraits and historical scenes of the 18th-century. He also produced an array of paintings depicting figures in the traditional folk dress of Italy. Both styles of painting were popular in the 19th-century and Cecchi was able to execute a huge array during his career.

Here he depicts a woman from North Africa in a more sombre, powerful stance in one portrait. Italy was, during the 19th-century, expanding its African empire. It is, therefore, a much more modern subject for Cecchi and suggests a prominent contemporary interest in these Italian campaigns, so much so it captured the interest of a man devoted to capturing the past. More on A North African Woman
Adriano Cecchi ( December 21, 1850 in Prato – 1936 in Florence ) was an Italian genre painter and printmaker.

He was the son of the wood sculptor Giuseppe Cecchi and Rosa Barbani. Adriano Cecchi studied painting at the Accademia di Belle Arti (Florence) .

Between 1870 and 1880 he was influenced by the Macchiaioli group of artists and by Telemaco Signorini , with whom he shared the studio in via della Robbia from 1875 to 1880.

From 1880 to 1911 Cecchi visited London several times , also accompanied by Signorini. There he painted portraits and genre paintings in the style of Thomas Gainsborough .

In the last decade of the 19th century, Cecchi took an active part in the cultural life of Florence, involved in various initiatives, including being active in the Florence Society of Fine Arts. He designed the facade of the Florentine Basilica of San Lorenzo , but the project was not carried out.

In the last years of his life, Cecchi withdrew to his studio in via delle Pergola, where he occupied himself with the renovation of old paintings. More on Adriano Cecchi

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01 work, PORTRAIT OF A LADY, Franciszek Zmurko’s Hetaera, with Footnotes #188

Franciszek Zmurko (1859 – 1910)
Hetaera, c. 1906
Oil on canvas
87 x 96 cm
Private collection

A Hetaera was a type of prostitute in ancient Greece, who served as an artist, entertainer and talker aside from providing sexual service. Unlike the rule for ancient Greek women, hetairas would be highly educated and were allowed in the symposium. More on Hetaeras

Franciszek Żmurko (18 July 1859, Lviv — 9 October 1910, Warsaw) was a Polish realist painter. Żmurko began drawing lessons as a young boy in his hometown with the painter Franciszek Tepa. As an adolescent he relocated to Kraków to study at the Academy of Fine Arts where he took lessons from Professor Jan Matejko. In 1877 Żmurko moved to Vienna, Austria where he was accepted at the Vienna Academy, but left soon thereafter to study under Alexander von Wagner in Munich. Żmurko returned to Kraków in 1880 and then moved to Warsaw in 1882 where he remained until his death in 1910. More on Franciszek Żmurko

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01 painting, The amorous game, Alexandre Marie Guillemin’s Spinning a yarn, with Footnotes #93

Alexandre Marie Guillemin (French, 1817-1880)
Spinning a yarn
Oil on canvas
47 x 38.4cm (18 1/2 x 15 1/8in)
Private collection

This work was Sold for £1,100 on Nov 22, 2022

Alexandre Marie Guillemin was born in 1817 in Paris. He was a student of the prominent French painter Antoine Jean Gros. Guillemin was especially known as genre artist specializing in the themes from the lives of peasants and petit bourgeois from Brittany to Pyrenees, frequently captured in humorous settings.

From 1840 to 1879 he regularly exhibited at the Parisian Salon. In 1845 he received an exhibition medal, in 1869 he was awarded the Order of the Legion d’Honneur. Works of Alexandre Marie Guillemin can be viewed in museums worldwide such as the National Academy of Design, New York, the Museum of Fine Arts, Montreal or the Hermitage, and Saint Petersburg. More on Alexandre Marie Guillemin

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01 work, PORTRAIT OF A LADY, Shirin Neshat’s Unveiling, with Footnotes #187

Shirin Neshat (Iranian, B. 1957)
Unveiling, from the Women of Allah series, c. 1993)
Ink on gelatin silver print
59 7/8 x 39¼in. (152 x 101cm.)
Private collection

In the present work, the woman stands still, appears silent yet confident and her gaze captivates the viewer. The Farsi words, amalgams of poems and prose by the Iranian writers Forough Farokhzad and Tahereh Saffarzadeh, ornament the woman’s body, but they are not only decorative as they define the woman’s quest for self-expression and reveal the symbolic voice of the silent figure. The womans skin becomes the canvas on which Shirin Neshat expresses her feelings towards feminism and questions the intricate identity of women in today’s society. More on this painting

Shirin Neshat is an Iranian artist living in exile. Some of her work is more poetic than overtly political, but she makes clear that “politics doesn’t seem to escape people like me,” using “art as her weapon” for social commentary.

This photograph is one of her earliest works from the Women of Allah series, exploring the female’s role in Islamic fundamentalism and militancy in Iran. It appears to speak to 18th and 19th-century Orientalist painting that fantasized Middle-Eastern women as subject to the male gaze, as nude posessions surrounded by material goods. But Neshat’s sitters gaze boldly back, often holding guns, freeing the female body from this objectification. More on Shirin Neshat

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01 work, PORTRAIT OF A LADY, Reginald Arthur’s The Death of Cleopatra, with Footnotes. #186

Reginald Arthur (fl. 1881-1896)
The Death of Cleopatra ‘The Stroke of Death etc’, c 1892
Oil on canvas
44¾ x 72 1/8 in. (121.3 x 103.2 cm.)
Private collection

Once Mark Anthony had been defeated at the battle of Actium (30 B.C.), and fallen on his sword, Cleopatra herself commited suicide to avoid capture by Octavian. An asp, or Egyptian cobra, was smuggled to her in a basket of figs and she died from its bite. According to Egyptian legend, death from snakebite ensured immortality. The courage involved in her suicide impressed many, and Arthur has appended to his title well known thoughts of the philosopher Francis Bacon (1561-1624): ‘I do not believe that any man fears to be dead, but only the stroke of death’. More on this painting
Cleopatra VII Philopator (69 – August 12, 30 BC), was the last active pharaoh of Ptolemaic Egypt, briefly survived as pharaoh by her son Caesarion. After her reign, Egypt became a province of the recently established Roman Empire.

Cleopatra was a member of the Ptolemaic dynasty, a family of Macedonian Greek origin that ruled Egypt after Alexander the Great’s death. The Ptolemies spoke Greek throughout their dynasty, and refused to speak Egyptian, which is the reason that Greek as well as Egyptian languages were used on official court documents such as the Rosetta Stone. By contrast, Cleopatra did learn to speak Egyptian and represented herself as the reincarnation of the Egyptian goddess Isis.

Cleopatra originally ruled jointly with her father Ptolemy XII Auletes, and later with her brothers Ptolemy XIII and Ptolemy XIV, whom she married as per Egyptian custom, but eventually she became sole ruler. As pharaoh, she consummated a liaison with Julius Caesar that solidified her grip on the throne.

After Caesar’s assassination in 44 BC, she aligned with Mark Antony in opposition to Caesar’s legal heir Gaius Julius Caesar Octavianus (later known as Augustus). With Antony, she bore the twins Cleopatra Selene II and Alexander Helio. Antony committed suicide after losing the Battle of Actium to Octavian’s forces, and Cleopatra followed suit. According to tradition, she killed herself by means of an asp bite on August 12, 30 BC. More Cleopatra

Reginald Arthur lived at 47 Bedford Square, very close to the British Museum and was greatly inspired by its classical treasures; one of his earliest exhibits was entitled A Bit from the British Museum. Egyptian subjects seem to have been his speciality and among his finest works are The Death of Cleopatra and Joseph Interpreting Pharaoh’s Dream. More on Reginald Arthur

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01 work, PORTRAIT OF A LADY, Rubens, Petrus Paulus’ Marie de Médicis, with Footnotes #183

Rubens, Petrus Paulus (Siegen (Westphalia), 1577 – Antwerp, 1640)
Henri IV receives the portrait of Marie de Médicis and allows himself to be disarmed by Love
Oil on canvas
Height: 3.94m; Width: 2.95m
The Louvre

Marie de’ Medici (French: Marie de Médicis, Italian: Maria de’ Medici; 26 April 1575 – 3 July 1642) was Queen of France and Navarre as the second wife of King Henry IV. Marie served as regent of France between 1610 and 1617 during the minority of her son Louis XIII. Her mandate as regent legally expired in 1614, when her son reached the age of majority, but she refused to resign and continued as regent until she was removed by a coup in 1617.

A member of the powerful House of Medici in the branch of the Grand Dukes of Tuscany, the wealth of her family caused Marie to be chosen by Henry IV to become his second wife after his divorce from his previous wife, Margaret of Valois. The assassination of her husband in 1610, which occurred the day after her coronation, caused her to act as regent for her son, Louis XIII, until 1614, when he officially attained his legal majority, but as the head of the Conseil du Roi, she retained the power.

Noted for her ceaseless political intrigues at the French court, her extensive artistic patronage and her favorites, she ended up being banished from the country by her son and dying in the city of Cologne, in the Holy Roman Empire. More on Marie de’ Medici

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More Sir Peter Paul Rubens

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01 work, PORTRAIT OF A LADY, Edward Angelo Goodall’s The Bride, with Footnotes. #182

Edward Alfred Goodall (British, 1819-1908)
The Bride
Oil on canvas
42½ x 32¼ in. (108 x 82 cm.)
Private collection

Goodall made two journeys to the East. Feeling restricted by the genre images which he was producing, he spent the winter of 1858-9 in Egypt. Much of the trip was spent in the company of the Bavarian born watercolorist Carl Haag. The account he gave of his visit leaves no doubt of the visual excitement he received from the scene in Cairo, and he was indefatigable in sketching. Impressed by the gracefulness of the Egyptians and the grandeur of the landscape, Goodall made them the central focus of his art and exhibited the first of his many Orientalist scenes, Early morning in the Wilderness of Shur, at the Royal Academy in 1860. The work was praised by critics and artists, including Sir Edwin Landseer and David Roberts, and established Goodall’s reputation. The sale of all of his oil sketches from this tour to the dealer Ernest Gambart for six thousand guineas financed his second visit in 1870-1. On this trip he and a dragoman on (carrying a sketching box designed and given to Goodall by the French animal painter, Rosa Bonheur) joined the nomadic bedouin near Saqqara.

The son of an engraver Edward Goodall and brother of Edward Alfred Goodall, Goodall won a silver medal at the Society of Arts in 1837, at the age of 14. He toured Ireland in 1843 with F.W. Topham and his early works are mainly genre and peasant scenes in the Wilkie tradition. He travelled extensively as did his brother who accompanied the Schomburgh Guiana Boundary Expedition in 1841, visiting the Crimea in 1854 and Morocco, Spain, Portugal and Italy. Two of his sons, Frederick Trevelyan and Herbert Goodall were also painters.Edward Angelo Goodall (8 June 1819 – 16 April 1908) was an English landscape and orientalist painter, a member of the Goodall family of artists.

Goodall was the son of Edward Goodall, the engraver of J.M.W. Turner’s works, and his brothers were the artists Frederick Goodall (1822–1904), a Royal Academician, and Walter Goodall (1830–89). His sister Eliza Goodall (1827–1916) was also an artist. Edward Angelo was apprenticed to his father’s office and his own artistic talents came to the fore in his teens when he won a silver medal, and praise from Clarkson Stanfield RA, at the Society of Arts for a picture of the landing of the Lord Mayor at Blackfriars Bridge. His work was exhibited at the Royal Watercolour Society. More on Edward Angelo Goodall

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19 works, PORTRAIT OF A LADY, 18 Old Master Artists’ interpretation of The Rape Of Lucretia, with Footnotes. #181

Titian (1490–1576)
Lucretia and her husband Lucius Tarquinius Collatinus, c. between 1516 and 1517
Oil on poplar wood
Height: 82 cm (32.2 in); Width: 68 cm (26.7 in)
Kunsthistorisches Museum

Lucretia (died ca. BC 508) was the daughter of magistrate Spurius Lucretius and the wife of Lucius Tarquinius Collatinus. The marriage between Lucretia and Collatinus was depicted as the ideal Roman union, as both Lucretia and Collatinus were faithfully devoted to one another. According to Livy, Lucretia was an exemplar of “beauty and purity,” as well as Roman standards…

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01 work, PORTRAIT OF A LADY, Frederick Arthur Bridgman’s Pensive Moments, with Footnotes #180

Frederick Arthur Bridgman (American, 1847–1928)
Pensive Moments
Oil on canvas
22 x 18 1/2 in.
Dahesh Museum of Art

In Pensive Moments, Bridgman presents a favorite subject, a North African woman in exotic dress with gauze sleeves, a bodice over her shoulders, and a conical hat usually worn by the women of Tlemcen — a town in northwestern Algeria. Bridgman described the costume in his book Winters in Algeria (1890), commenting that it resembled Moroccan dress because the Algerian city was near the Moroccan border. Bridgman infuses this composition with sunlight pouring through the doorway to illuminate the seated woman who appears to be lost in thought. More on this painting

Frederick Arthur Bridgman (November 10, 1847 – 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States’ most well-known and well-regarded painters and become known as one of the world’s most talented “Orientalist” painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman

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01 work, PORTRAIT OF A LADY, William Merritt Chase’s Girl in Yellow, with Footnotes #179

William Merritt Chase, (1849-1916)
A Girl in Yellow (The Yellow Gown), c. 1900
Pastel on paper laid down on canvas
20 x 16 in. (50.8 x 40.6 cm.)
Private collection

Executed in rich, velvety pastel, A Girl in Yellow (The Yellow Gown) exemplifies the artist’s ability to move “beyond creating mere realistic likenesses to capture his subjects’ vitality, character, and spirit.” L.B. Fiser, William Merritt Chase. With a casual pose full of personality, including a defiant tilt of the chin and daring eye contact, Chase celebrates the individuality of his sitter as she poses in an eye-catching yellow gown amidst warm, sumptuous surroundings.

Erica E. Hirshler writes, “Chase repeatedly promoted this distinctly modern American woman. His female subjects are ready for the ride, ready for a walk, ready now, and about to come in; they peruse in the studio, stroll in the park; they meet and match the viewer’s gaze…With a cloak of tradition, Chase vested his new women with power, reinforcing their vivid engagement with the world.” More on this painting

William Merritt Chase, (born Nov. 1, 1849, Williamsburg [now Nineveh], Ind., U.S.—died Oct. 25, 1916, New York, N.Y.) painter and teacher, who helped establish the fresh colour and bravura technique of much early 20th-century American painting. Chase studied at the National Academy of Design in New York City and under Karl von Piloty for six years in Munich. He worked for a time in the grays and browns of the Munich school, but in the 1880s he took up a lighter palette, which was then popular in Paris.

An extremely effective teacher, Chase taught many pupils, first at the Art Students League of New York and then at his own school in New York City. He is best known for his portraits and figure studies, his still lifes. His mature style is notable for its bold and spontaneous brushwork and other marks of virtuoso execution. More William Merritt Chase

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01 work, PORTRAIT OF A LADY, Francis John Wyburd’s Xarifa, with Footnotes. #176

Francis John Wyburd (BRITISH, 1826-1893)
Xarifa, or The Bridal of Andalla: the Zegri lady rose not, etc., c. 1863
Oil on canvas, feigned oval
25 x 30 in. (63.5 x 76 cm.)
Private collection

Scene on the walls of the city overlooking the field of battle. On the distant hills is seen the Spanish camp. Moors pass hastily across the stage, and look anxiously over the walls on the combatants beneath.

Wyburd often painted Eastern subjects of a fashionable romantic kind, inevitably drawing at least some of his inspiration from Thomas Moore’s Lalla Rookh: an Oriental Romance. Largely forgotten today, the 1817 publication went on to inspire artists, musicians, composers, choreographers, and many others. Even the East India Company named one of its ships after Moore’s title character, while Barnum and Bailey staged a spectacular circus pageant to recreate her mythical entourage. Moore’s epic “Frame Tale,” about the journey of a Mughal princess from Delhi to Kashmir to marry a neighbouring king, was a runaway hit. The author was not an “Orientalist,” but according to his own introduction to the poem, he was encouraged by friends including George Byron to take on the exotic subject. Moore had never been to India either, but he managed to create an enormously enduring tale that was still in print 100 years later. Marrying fact and fantasy, the plot follows the remarkable journey of Lalla Rookh (“tulip-cheeked”), a fictional daughter of Emperor Aurungzeb (r. 1658–1707). Wyburd, was said to have been particularly enthralled by the story, motivating him to create several paintings inspired by it. More on this painting

Francis John Wyburd (1826–1909) was a British artist, born in Bryanston Street, London, and lived there for at least the next fifty years.

Wyburd was educated in Lille, France, after which he was a pupil of Thomas Fairland.

He married Jemima Wyburd, née Corbould (1840–1913), the daughter of Edward Henry Corbould, who was appointed “instructor of historical painting to the royal family” from 1851 and taught Queen Victoria and her family painting and drawing.

Their son Leonard Wyburd RA (1865–1958) was a painter, interior designer and furniture designer. He was broadly part of the Arts & Crafts movement, and the head of Liberty’s Furnishing and Decoration Studio from its foundation in 1883 until he left in 1903. More on Francis John Wyburd

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01 work, PORTRAIT OF A LADY, Charles Edward Hallé’s Archer, with Footnotes. #176

Charles Edward Hallé, (BRITISH, 1846-1914)
The Archer
Diana, the Roman goddess of the hunt
Oil on canvas
36 x 28 in. (91.5 x 71.1 cm.)
Private collection

Within this work, Hallé demonstrates his interest in classical themes by depicting Diana, the Roman goddess of the hunt and nature. Though tackling a mythological subject, Hallé stylistically expresses his alignment with the Pre-Raphaelites through Diana’s flowing auburn hair, pale porcelain skin and green eyes. Here the huntress turns on the viewer, gazing coolly out of the picture plane, with her bow and arrow trained on the spectator. This action is perhaps a subversion of the famous tale of Diana and Actæon as recounted in Ovid’s Metamorphoses. In the story, while out on a hunt, Actæon stumbles upon Diana bathing with her nymphs. Enraged at having been seen in such a state of undress, Diana turns the hapless hunter into a deer, whereupon he is promptly hunted by his own hounds as punishment for his indiscretion. In the present lot, Diana embodies strong and vengeful womanhood, as she is now placed in the position of power and confrontation. This subject was perhaps selected by Hallé due to the theme of female liberation, which was then at the fore in contemporary society, owing to the gathering momentum of the suffragette movement. More on this painting

Charles Edward Hallé (1846–1914), sometimes given as Edward Charles Hallé, was an English painter and gallery manager. He was a painter of history scenes, genre scenes, and portraits.

Hallé was the son of Sir Charles Hallé, the German-born pianist and orchestra conductor, who emigrated to England during the revolution of 1848. His younger sister was the sculptor and inventor Elinor Hallé. His first professors were Richard Doyle and the Carlo Marochetti when he entered the School of the Royal Academy in London. At seventeen years of age he traveled to France and worked with Victor Mottez, a student of Ingres. From France he traveled to Italy. He was attracted to the tradition of Neo-Classicism found in Rome.

Upon his return to London he exhibited four paintings at the Royal Academy in London in 1866, and then departed for Venice. He studied the techniques of the Venetian Masters and tried to paint in their style. He then returned to England and settled permanently in London. In 1877 with J. Comyns Carr, he assisted Lord Coutts Lindsay in the creation of the Grosvenor Gallery. In 1888 with Burne-Jones, he founded the New Gallery in Regent Street.

In 1909 he published his reminiscences, Notes from a Painter’s Life, a valuable if somewhat cantankerous source-book.

He exhibited frequently in the two galleries he helped found. His works have been displayed in the museum in Sheffield. More on Charles Edward Hallé

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01 work, PORTRAIT OF A LADY, Possibly Caterina Savelli, Principessa di Albano, with Footnotes. #175

Artemisia Gentileschi, Rome 1593 – after 1654 Naples
Portrait of a seated lady, possibly Caterina Savelli, Principessa di Albano
Oil on canvas
51 1/4 by 38 5/8 in.; 130.2 by 98.1 cm.
Private collection

Artemisia Gentileschi was celebrated by her contemporaries as a painter of portraits. Only a few of these have survived, however, and this depiction of an elegant and beautiful young woman must rank amongst her very best examples in the genre.

The sitter, who appears to be in her late 20s or early 30s, is resplendently dressed in a black, somewhat conservatively styled, dress, which has nevertheless been elaborately embroidered with gold thread. She is seated in a large chair and turns three quarters to her right, her profile and head reflected in the shimmer of the gold finial that adorns the top of her chair.

A compelling clue as to the sitter in this portrait is provided by the correspondence of the artist. In a letter of 5th of March, 1620, Artemisia Gentileschi, having arrived in Rome from Florence only a few weeks before, wrote to Francesco Maria Maringhi, her lover and confidant, that she was already busy at work painting a portrait of the “Principessa di Albano”. More on this painting

Artemisia Gentileschi; (July 8, 1593 – c. 1656) was an Italian Baroque painter, today considered one of the most accomplished painters in the generation following that of Caravaggio. In an era when women painters were not easily accepted by the artistic community or patrons, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence.

She painted many pictures of strong and suffering women from myth and the Bible – victims, suicides, warriors.

Her best-known work is Judith Slaying Holofernes (a well-known medieval and baroque subject in art), which “shows the decapitation of Holofernes, a scene of horrific struggle and blood-letting”. That she was a woman painting in the seventeenth century and that she was raped and participated in prosecuting the rapist, long overshadowed her achievements as an artist. For many years she was regarded as a curiosity. Today she is regarded as one of the most progressive and expressionist painters of her generation. More on Artemisia Gentileschi

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01 work, PORTRAIT OF A LADY, Edgardo Saporetti’s Italian Mother with two children, with Footnotes. #100

Edgardo Saporetti, 1865 – 1909
Italian Mother with two children
Oil on canvas.
74 x 62 cm.
Private collection

The young woman leans against a house wall with a view of the viewer, a small child on her breast, the older daughter looking at the child.

Edgardo Saporetti (Bagnacavallo, 1865 – Bellaria, 1909) was an Italian painter of eclectic subjects, including portraits, landscapes, and genre subjects.

He was the son of Pietro Saporetti, painter and docent of the Academy of Fine Arts of Ravenna, and initially studied there. At the age of 15 years, he traveled to Rome to work under Cesare Mariani, director of the Accademia di San Luca, then moved to Naples where he worked in the studio of Domenico Morelli. He was commissioned to complete portraits of the King Umberto I, his wife, and son Victor Emmanuel III.

His life and career is described as restless and stormy, and financial and other complications, forced him to exile himself to London. He was to return to Florence in 1903, where he obtained an appointment as adjunct professor of painting at the Academy of Fine Arts, Florence. Among his works there was a series of illustrations of the Divine Comedy for the publisher and photographer Vittorio Alinari. He also completed a Via Crucis in Florence. More on Edgardo Saporetti

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01 Painting, PORTRAIT OF A LADY, William Henry Margetson’s Don’t Tell!, with Footnotes. #171

William Henry Margetson, RI, ROI (BRITISH, 1861-1940)
Don’t Tell! c. 1916
Oil on canvas
68.6 x 50.8cm (27 x 20in)
Private collection

William Henry Margetson RI (December 1861 – 2 January 1940) was an English painter and illustrator, mainly known for his aesthetic portraits of women.Margetson was born at Camberwell in Surrey. He studied at Dulwich College, and later at the Royal College of Art and the Royal Academy of Arts. In 1885 he first exhibited at the Royal Academy, and later also at the Royal Society of British Artists, the Royal Institute of Oil Painters and the Grosvenor Gallery.

Margetson painted in oils and watercolours. He made his name with portraits of beautiful women,. He also created religious and allegorical artwork. Later he would use a looser brushstyle inspired by the post-impressionists and the pre-raphaelites.

He lived and worked first in London and later in Blewbury and Wallingford. He died in Wallingford, Oxfordshire, in 1940, at the age of 78. More on William Henry Margetson

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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Painting, PORTRAIT OF A LADY, Richard Bergh’s Lady with a fan, with Footnotes. #169

Richard Bergh, (1858-1919)
Lady with a fan, c. 1883.
Pastel
64 x 48 cm.
Private collection

Sven Richard Bergh (1858-1919) was a Swedish painter, art critic and museum manager. Despite many years in France, he remained unattracted to Impressionism, preferring instead the Naturalism of painters such as Jules Bastien-Lepage. He also rejected the idea of creating landscapes en plein aire.

Both of his parents were artists and, presumably, his first teachers. He began his formal studies from 1878 to 1881, at the Royal Swedish Academy of Fine Arts. His first works were scenes from Swedish history, painted in the Academic style. In 1881, he went to Paris. His first exhibition at the Salon came in 1883 and he completed his studies in 1884.

The following year he became members of the Nordic art colony at Grez-sur-Loing. That same year, he joined with the Swedish artists who became known as the opponents (Opponenterna); a group that was protesting what they felt were the outmoded teaching methods at the Academy. Shortly after, they created the Artists’ Association (Konstnärsförbundet).

In 1893, Bergh and his family moved to Varberg,. . He found himself more attracted to Romantic Nationalism; a predilection that was strengthened by a stay in Italy from 1897 to 1898, where the art he observed impressed him as representing exactly the opposite.

Richard Berghs väg, a street in Södra Ängby, Stockholm, was named after him. More on Richard Bergh

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Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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12 Photographs, PORTRAIT OF A LADY, Ady Fidelin, the first black model and muse, by Man Ray, Pablo Picasso and Lee Miller, with Footnotes. #171

MAN RAY (1890-1976)
Ady Fidelin, c. 1936
Silver print
23 x 17.5 cm.
Private collection

Ady Fidelin was born in 1915 in Pointe-à-Pitre into one of Guadeloupe’s oldest Creole families, immigrating to France in the wake of the catastrophic 1928 cyclone that devastated the Caribbean, killing thousands. The death of her mother during this traumatic event and the passing of her father a few years later precipitated her migration to Paris to join family members who had made the passage before her. She arrived in France in one of the successive waves of émigres from the island, lured by the hope of a better life in the storm’s aftermath…

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