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Click here to subscribe1960s-70s chocolate mink coat with silk and velvet lining. The coat has full sleeves that are tightly cuffed at the wrist and there is a single button fastening. This comes with a large, padded yellow silk velvet hanger and a cover. There is a blackglamma label in the internal pocket and. a makers swing tag. 40 inch/ 101 cm bust, size s-m (1) condition is very good, fur is glossy and bright. There are some loose stitches in the lining at the back of the neck.
United Kingdom - Victoria (1837-1901) One Florin, dated 1893, 3rd portrait, crowned and veiled bust, Queen Victoria, left, VICTORIA.DEI.GRA.BRITT.REGINA.FID.DEF.IND.IMP/. crown above shields of England, Scotland and Ireland, with national flowers, ONE FLORIN TWO SHILLING, in secure plastic holder, graded NGC PF 64, certification number 6031077-002
United Kingdom - Victoria (1837-1901) One Shilling, dated 1893, 3rd portrait, crowned and veiled bust, Queen Victoria, left, VICTORIA.DEI.GRA.BRITT.REGINA.FID.DEF./. crown above shields of England Scotland and Ireland, with National flowers, ONE SHILLING, in secure plastic holder, graded NGC PF 64, certification number 6031077-003
Kingdom of England - Elizabeth I (1558-1603) 3rd/4th issue half pound, mm. coronet (1567-1570), crowned bust of Queen Elizabeth I (portrait with ear showing), left, 'ELIZABETH.D.G.ANG.FR.ET.HI.REGINA'./. crowned Royal shield of arms, flanked by 'E.R' (slight chip and damage to legend) 'SCVTVM:FIDEI:PROT EGET:EAM'
Commonwealth of England (1649-1660) - Oliver Cromwell (1653-1658) shilling, dated 1658, laureate and draped bust, Oliver Cromwell left, 'OLIVAR.D.G.R.P.ANG.SCO.HIB&PRO'./. crowned arms of the protectorate, with date above, 'PAX.QVAERITVR.BELLO' in a secure plastic holder, graded PCGS XF45, certification number 80648488
Kingdom of England - Charles II (1660-1685) Five Guineas, dated 1681, second laureate bust, King Charles II, right, 'CAROLVS.II.DEI.GRATIA',./. crowned cruciform shields with central interlinked 'C's' and sceptres bearing national emblems, graded PCGS Genuine Scratch - XF detail, certification number 39571446
Follower of FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Male study".Oil on canvas. Relined on old canvas.It shows faults and damage to the pictorial surface.Provenance: private collection conceived since the 70's between London and Madrid.Size: 102 x 66 cm; 106 x 76 cm (frame).The deliberate coarseness with which this male bust has been portrayed and the use of a chromatic range based on black and ochre tones are very reminiscent of Goya's black paintings. One of the most outstanding painters in the history of universal art, Francisco de Goya received his first drawing and painting lessons from José Luzán Martínez, who taught at his home and also at the Academy of Drawing founded in Saragossa in 1754. After three years of study with this master, Goya applied for a pension from the Royal Academy of San Fernando in 1763, at the age of seventeen. It seems that by then he was already a pupil of Francisco Bayeu, who had returned from court. However, Goya did not manage to get into the Academy, nor did he when he tried again in 1766. Around 1770 he undertook a trip to Italy to further his training and improve his skills. There he showed his early taste for the grotesque and satirical. After a long career, Goya was replaced as Pintor de Cámara by Vicente López, and he fell into a period of isolation, bitterness and illness which led him to seclude himself in the Quinta del Sordo, on the outskirts of Madrid, where he produced his supreme work: the Pinturas Negras (Black Paintings). Fed up with the absolutism imposed by Ferdinand VII in Spain, Goya finally left for France in 1824, where he met exiled liberal friends. He spent his last years there and produced his final work, "The Milkmaid of Bordeaux", in which he anticipated Impressionism. Today his work is part of the most important art galleries in the world, from the Prado Museum to the Metropolitan Museum in New York, the Hermitage in Saint Petersburg, the Louvre in Paris and the National Gallery in London.
Circle of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576)."Philip II.Oil on canvas. Re-engraved.Attached export permit.Provenance: private collection conceived from the 70s between London and Madrid.Measurements: 59 x 52 cm.Portrait of bust that presents the figure of the Monarch Felipe II. The way in which his face has been captured and the clothes indicate that the work is inspired by the portrait that Antonio Moro made of the Monarch around 1557. In that work, however, the king was shown standing. The original work was conceived to commemorate the battle of San Quintín, which is why he is shown in the same clothes he wore at the time of the victory. Philip II wears the harness of the armour of the Burgundy crosses, made by Grosschedel around 1551, on a coat of mail, wearing armour that is still preserved in the Royal Armoury, and above it the golden fleece hanging over a red citation. The work, which aesthetically follows the portrait models of the period, shows a delicate sense of detail in both the clothing and the face. The face is captured from a psychological perspective and shows a king whose gaze marks a certain distance from the viewer, making his absolutist position clear. These aesthetic characteristics suggest the circle of Antonio Moro. Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a pupil of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro travelled to Italy during his youth and was able to spend three years there before returning to Utrecht in 1544. In 1547 he was admitted as a master to the Guild of Saint Luke in Antwerp, although he preferred to reside in his native city. The following year he attracted the attention of his first important patron, Antonio Perrenot de Granvela, Bishop of Arras and a member of the court of Charles V. His portraits painted between 1549 and 1550 already reveal an innovative style that would replace older portrait painting traditions, combining Flemish precision with Italian models. Particularly important in his language was the influence of Titian, which he brought to him through the works by the Venetian in the collections of Granvela and Maria of Hungary, regent of the Low Countries. Moro's mature style was characterised by the steely precision of his Nordic heritage, the muted colours, the detail in the draperies, folds and qualities, the simplified lighting generally on the left side and a neutral background that emphasises the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the picture plane. His career received a definitive boost when he was presented by Granvela to Philip II; from then on Moro worked on royal and courtly portraiture in the Dutch and Spanish courts, and his style exerted an important influence throughout Europe, particularly on the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of the Emperor Maximilian II, probably in Augsburg. From there he probably continued his journey in the entourage of Philip II, who was then in the Low Countries. He arrived in Spain in 1551, where he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the court in Lisbon and finally returned to Brussels in 1553 only to go to London, where he was sent to portray Philip II's wife after her wedding. That same year, 1554, he was officially appointed painter of
Dutch school; circa 1600."Portrait of a lady.Oil on copper.It has a gilt frame from the 19th century.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 6,5 x 5,1 cm; 8,6 x 5,4 cm (frame).Portrait of a young woman in miniature, which represents the bust of the protagonist who is in the centre of the composition, turned slightly in three quarters, dressed in black clothes that make the light of her pearly skin stand out even more. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
French school of the second quarter of the 18th century."Portrait of a soldier.Oil on canvas. Relined.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 102 x 82 cm.With a barely sketched smile the protagonist of this work reveals us a great vitality, strength and determination. The author presents this man to us through his long bust, slightly turned in three quarters, his figure occupying almost the totality of the space, without giving importance to the background, but to the character and his personality that is exposed through the gesture of his face, haughty, emphatic and at the same time with his posture, leaning on his baton of command. The hair or wig, which frames his complexion, falls in curls over his shoulders, resting on the armour that serves as his clothing. The polished armour acts as a mirror, catching the light and trapping it on its shiny surface. These features indicate the artist's interest in capturing the qualities, showing great detail in the different textures that make up the scene, including the young man's pearly skin, which reveals the softness of its softness.The French school stood out from all others for its consolidation of a strong tradition in portraiture. The rise of an absolutist and totalitarian monarchy laid the aesthetic foundations for court portraits, where a pattern was established in which the figure of the monarch was the main focus, a pattern that was subsequently extended to the entire court. This century saw the birth of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality of the human being and his character, beyond his external reality and social rank, in his effigy. During this century, portraiture became firmly established among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th century progressed and even more so in the 19th century, the formulas of the genre gradually relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 19th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all scenographic elements in order to depict the individual rather than the personage.
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