Philips Wouwerman. The Farrier of the Camp, ca. 1650 (Royal Collection Trust, London).

Oil on wood: 37.4 x 32.2 cm.

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Domenichino (Domenico Zampieri). A Sibyl (‘La sibila persa’), ca. 1620 (The Wallace Collection, London).

Oil on canvas: 77.4 x 68.2 cm.

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Graham Sutherland. Study of Rock and Flames, 1975 (National Museum Cardiff).

Oil on canvas: 61.3 x 50.2 cm.

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Franz Anton Maulbertsch. Allegory of the Continent of Asia, ca. 1750 (National Gallery, London).

 

Oil on canvas: 43 x 48 cm.

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James Jebusa Shannon. Portrait of Violet Lindsay Manners - Duchess of Rutland, 1918 (Plas Newydd, Anglesey).

Oil on canvas: 89.5 x 59.1 cm.

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Bernard Fleetwood-Walker. Amity, 1933 (Walker Art Gallery, Liverpool).

Oil on canvas: 101.3 x 94.7 cm.

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Joseph William Turner. Riva degli Schiavone, Venice - Water Fête, ca. 1845 (Tate Britain, London).

Oil on canvas: 72.4 x 113 cm. Unfinished.

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Giovanni Battista (Giambattista) Tiepolo. Young Woman with a Macaw, ca. 1760 (Ashmolean Museum, Oxford).

Oil on canvas: 71 x 53.4 cm.

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Harmen Steenwijck. An Allegory of the Vanities of Human Life, ca. 1640 (National Gallery, London).

Oil on oak: 39.2 x 50.7 cm.

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Charles Wellington-Furse. Diana of the Uplands, 1904 (Tate Britain, London).

Oil on canvas: 236.9 x 179.1 cm.

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George Spencer Watson. Sunlight Nude, ca. 1930 (Russell-Cotes Art Gallery, Bournemouth).

Oil on canvas: 125.5 x 99.5 cm. A flapper.

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Agnolo Bronzino (Agnolo di Cosimo). An Allegory of Venus and Cupid, ca. 1545 (National Gallery, London).

Oil on wood: 146.1 x 116.2 cm.

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Meredith Frampton. Marguerite Kelsey, 1928 (Tate Modern, London).

Oil on canvas: 120.8 x 141.2 cm. Kelsey (1909-1995) was a professional model in the 1920s and 1930s. Renowned for her gracefulness she sat to about 20 London artists. She became so popular that she was often booked months in advance. This work was originally titled 'Woman Reclining', but changed by the artist for a Tate Gallery retrospective in 1982. During this retrospective Kelsey was the only still-living sitter who had not yet been traced. She had been living in New Zealand. Upon seeing reviews of the exhibition, she contacted the Gallery and visited the exhibition. According to Kelsey the artist required a perfect morning light. The painting required at least twelve and possibly as many as twenty-four sittings. The Beeton portrait: here.

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Jonathan Gardner. The Lavender Room, 2014 (artist’s portfolio).

Oil on linen: 106.7 x 96.5 cm.

Visit > Jonathan Gardner at: Casey Kaplan, Mary Mary.

Jan Havicksz Steen. The Effects of Intemperance, ca. 1664 (National Gallery, London).

Oil on wood: 76 x 107 cm.

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Lisa Brice. Untitled, 2019 (artist’s portfolio).

Oil, synthetic tempera, ink and pastel on linen: 203 x 105 cm. Lisa Brice (2018): “I am drawn to the ambiguity that people and places can hold. Sometimes the compositions of my paintings feel like cinematic outtakes: the moments between directed actions, when the figures are ‘on their own time’, self-involved, performing only for themselves or one another. There are infinite possibilities embodied in these transitional states of being, which could also be a time of day, or adolescence, or gender, or rooms that feel like threshold spaces – thinly veiled interiors with glimpses of the exterior, grilles or indoor plants, typical in the tropics. These are all thrilling states – a kind of magical suspension”.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Rembrandt van Rijn. Self-Portrait with two Circles, 1660 (Kenwood House, London).

Oil on canvas: 114.3 x 94 cm.

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Umberto Boccioni. Modern Idol, 1911 (Estorick Collection of Modern Italian Art, London).

Oil on canvas: 58.4 x 59.7 cm. Study for ‘Modern idol’ at the Metropolitan New York.

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Neil Stokoe. Man and Woman, spiral Staircase, 1983 (artist’s estate, UK).

Oil on canvas: 266.7 x 180.3 cm(!).

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Nicolas Poussin. The Triumph of Pan, 1636 (National Gallery, London).

Oil on canvas: 135.9 x 146 cm.

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