01 Painting, PORTRAIT OF A LADY., with Footnotes. #52

McClelland Barclay

The Nightclub Singer

Oil on canvas

26 7/8 × 39 7/8 in, 68.3 × 101.3 cm

Private collection

McClelland Barclay, 1891–1943, was born in 1891, in St. Louis, Missouri, and studied at the Art Institute of Chicago. He moved to New York City in 1912 to make his way in the art world and study at the Art Students League. He quickly became known about New York as a colorful character and according to Life magazine was “talented and seen all around the town”. Tom Fogarty and George Bridgeman were his most influential teachers at the Art Students League and encouraged him to go directly into illustration as he needed immediate income. 

Made his name, not only in opulent oils, but also in jewelry and other decorative arts (bookends, containers, etc.) from his own firm, The McClelland Barclay Art Company. His illustrations depicted the American beauty, from flapper to film star, usually as a fiery redhead or strawberry blonde. His advertising accounts were many, most famous being the Body by Fisher ads that occupied him for many years (full color and black and white). Story art for Cosmopolitan and Redbook; covers for Saturday Home, Ladies' Home Journal, Redbook, Country Gentleman, Saturday Evening Post, Pictorial Review. War poster, camouflage design, and battlefield correspondence work as a naval Lieutenant Commander. Killed in action, WW2. More on McClelland Barclay

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01 Painting, PORTRAIT OF A LADY., with Footnotes. #51

Giuseppe Dangelico Pino (1939–2010)

Black Shawl

Oil on Canvas

30 x 20 in  |  76 x 51 cm

Private collection

Pino Daeni- 1939 - 2010,  Italian artist, Pino Daeni's art and canvases elicit feelings of warmth, nostalgia, love and family. His paintings are often set on vibrantly sunny beaches on the Mediterranean where he grew up. Pino is noted for his exceptional ability to capture the movements and expressions of his subjects - a talent which has brought his artwork a worldwide following and private commissions to do portraits.

Trained in Italy at the Art institute of Bari, and later at Milan’s Academy of Brera, Pino perfected his skills painting nudes and figure studies heavily influenced by the Pre-Raphaelites and Macchiaioli.

After establishing himself as a successful artist in his native land, Pino immigrated to the United States, seeking more artistic freedom and opportunity. He was soon discovered by the Borghi Gallery, which gave several exhibitions for him in New York and Boston.

In 1980 Zebra commissioned him to do his first book cover; his popularity grew within the literary community and he became the artist-in-demand for Zebra, Bantam, Simon, and Schuster, Harlequin, Penquin USA and Dell. To date, Pino has illustrated 3,000 books; his style has dominated the market. More Pino

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01 Painting, PORTRAIT OF A LADY, with Footnotes. #50

Francesco Hayez, (1791-1882)

Portrait of Matilde Juva Branca, c.1851

Oil painting on canvas

121 × 95 cm

Gallery of Modern Art of Milan

The figure of the woman, portrayed on a neutral background illuminated by the usual pattern of lights typical of Hayez, is wrapped in black silk dresses from which emerge the white crinoline that frame her face and hands; an arm is placed on the chair on which a light ermine coat is spread, the other is extended along the body. The woman shows an elaborate curly hairstyle called anglaises , in English , particularly fashionable in those years. 

Matilde Juva Branca, born in Milan in 1820, was a famous amateur soprano protagonist. Born in the district of Meravigli n. Matilde married the wealthy Turin owner Giovanni Juva who commissioned his wife's painting as péndantto his own portrait always executed in 1851 by the student of Hayez Mauro Conconi.

Francesco Hayez (10 February 1791 – 21 December 1882) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits.

Hayez came from a relatively poor family from Venice. He was brought up by his mother's sister, who had married a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the "Salotto Maffei" salon in Milan.

Francesco Hayez lived long and was prolific. His output spanned both historic paintings, and Neoclassic style grand themes, either from biblical or classical literature. He also painted scenes from theatrical presentations of his day.  More Francesco Hayez

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01 Painting, PORTRAIT OF A LADY., with Footnotes. #49

Robert Peake, (circa 1551-1626 London)

Portrait purported to be of Lady Elizabeth Pope, née Watson

Oil on panel

67.9 x 49.6cm (26 3/4 x 19 1/2in)

Private collection

The black thread depicted here, which normally links the heart and the hands, looks to be broken and may possibly be an allusion to a death and would fit with the traditional identification of the sitter being Elizabeth Watson, who was an heiress at this date. The depiction of her long hair hanging loosely down, was a contemporary symbol of virginity and brides sometimes wore their hair down in this way. More on this painting

Robert Peake the Elder (c. 1551–1619) was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I. In 1604, he was appointed picture maker to the heir to the throne, Prince Henry; and in 1607, serjeant-painter to King James. Peake is often called "the elder", to distinguish him from his son, the painter and print seller William Peake (c. 1580–1639) and from his grandson, Sir Robert Peake (c. 1605–67), who followed his father into the family print-selling business.

Peake was the only English-born painter of a group of four artists whose workshops were closely connected. Between 1590 and about 1625, they specialised in brilliantly coloured, full-length "costume pieces" that are unique to England at this time. It is not always possible to attribute authorship between Peake, De Critz, Gheeraerts and their assistants with certainty. More on Robert Peake

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01 Paintings, PORTRAIT OF A LADY., with Footnotes. #48

Franz von Stuck, 1863 - 1928, GERMAN

DOMINO

Oil on board

82.5 by 37.5cm., 32½ by 14¾in

Private Collection

As masquerades flourished in eighteenth and nineteenth century Europe, Domino was probably the most common mask of all. Typical of the Venetian Carnival, it consisted of a black mask covering only the eyes and was sometimes worn with a cloak over the dress. Shown here held by the model! More on this painting

Franz Stuck (February 23, 1863 – August 30, 1928) was a German painter, sculptor, engraver, and architect. Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy.

In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise. In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his most famous work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy.

Having attained much fame by this time, Stuck was ennobled on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. More on Franz von Stuck

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01 Painting, PORTRAIT OF A LADY, Hermenegildo Anglada-Camarasa's Démarche gitane (Gypsy approach), with Footnotes. #47

Hermenegildo Anglada-Camarasa, 1871 - 1959

Démarche gitane (Gypsy approach), c. 1902

Oil on canvas

113.5 x 146 cm

Museo Nacional Centro de Arte Reina Sofía

By the nineteenth century, Spain had embraced Gypsy myth and lore. The Romantics were in awe of the gypsies for their otherworldliness and seeming ability to commune with nature, while the following generation of artists and writers, driven by patriotism in the wake of Spain's colonial losses, venerated the gypsy as the quintessential icon of Spanish identity. Nonell, Zuloaga, and Solana were among Anglada's contemporaries who endowed the gitana with a gravitas, at times playful, at times austere, that linked her inextricably with Spain's psyche.

Painted circa 1902, the present work is amongst the first paintings by the artist dedicated to this subject. Depicting the gypsy as a synthesis of brilliant colours and rhythmic forms, Anglada lifts her out of reality to a wholly aesthetic plane. The colours are mesmeric, while the striking rhythmical forms have a musicality about them which is reminiscent of the gypsy sub-culture most nobly embodied by dance and flamenco. More on this painting

Hermenegildo Anglada Camarasa (1871–1959), known in Catalan as Hermenegild (or Hermen) Anglada Caramasa, was a Catalan and Balearic Spanish painter.

Born in Barcelona, he studied there at the Llotja School. His early work had the clear academic imprint of his teacher, Modest Urgell. In 1894 he moved to Paris, and studied at the Académie Julian. He adopted a more personal style, after that of Degas and Toulouse-Lautrec, with their depictions of nocturnal and interior subjects. But his work was also marked by the intense colors which presaged the arrival of Fauvism. Lively brushwork reveals strong Oriental and Arab influences. Allied with the Vienna Secession movement, his decorative style draws comparison to Gustav Klimt.

He died in Pollença, on the island of Majorca, and is commemorated by a bronze bust on the 'Pine Walk' at Port de Pollença. More on Hermenegildo Anglada Camarasa

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