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He lived in great splendour in his house in Covent Garden, London, with his wife Hannah.In 1699, after a visit to Rome, he fell under the spell of the Antique and painted his famous full length portraits of the Earl of Shaftesbury in Classical pose. PROVENANCE: *By descent through the Killigrew family of Thornham Hall, Eye, Suffolk.*The Collection of the late Anne, Lady Winnington of Brockhill Court, Worcestershire, and London.
Oil on canvas in a good quality reproduction frame.In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague.Otherwise this appears to be a fully characteristic work by the artist.'Regardless of the identity of the sitter this is a superb and sensitive portrait by a famous artist from the Netherland's Golden Age of painting. He was working there for the Stadholder's Court, for local patricians and for the upper classes of other cities in the Southern part of Holland and in Zeeland. Three quarter picture of Dutch Lady by Jan van Ravesteyn. Oil on canvas; a superb quality portrait in a good 17th century carved and giltwood frame.
Black is an ideal background against which gold can stand out to dramatic effect and to contrast with the crisp white linen and lace.