Dominique Dehais Art

PRESENTING a GORGEOUS 20th Century and ORIGINAL MONUMENTALLY LARGE oil on canvas by M. Picot. This is a BEAUTIFUL still life painting of fruit in classical style. Continental Schoo...

Painted en plein air, in Sag Harbor, New York. Situated in the People's United Bank parking lot, Butko looks over to the opposite side of Main Street. Beneath tall, fully bloomed trees, illuminated storefronts glisten after they close up for the day. Victor Butko was born into a long line of artists, and has been mentored in painting since the age of 8. He is currently the youngest artist exhibiting at Thomas Kearns McCarthey Gallery, one of the foremost dealers in the United States for Russian Impressionist art...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...

This portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...

This exquisite portrait, presented by Titan Fine Art, belongs to a type of portrait known as ‘Les Belle Romanes’; Voet is perhaps best remembered for his series of them – a great set of portraits...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

The works of William Smith were regularly exhibited at the Royal Academy in London between 1813 and 1859. Yet little is known about this artist. He lived in Shropshire and was active...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...