Feb 27
The Virgin Holding an Oak Branch
Artist: Attributed to Michel Dorigny (French, 1616-1665)
Date: After 1640
Medium: Oil on canvas
Collection: Chrysler Museum of Art, Norfolk, Virginia, United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Russia
seen from China
seen from Hong Kong SAR China
seen from United States
seen from United States
seen from Russia
seen from Singapore
seen from United States
seen from Russia
seen from United States
seen from United States
seen from Russia
seen from China
seen from United States
seen from China
The Virgin Holding an Oak Branch
Artist: Attributed to Michel Dorigny (French, 1616-1665)
Date: After 1640
Medium: Oil on canvas
Collection: Chrysler Museum of Art, Norfolk, Virginia, United States
The Meeting between Henry V and the Queen of France
Artist: William Kent (English, 1684-1748)
Date: c. 1728-1730
Medium: Oil on canvas
Collection: Royal Collection Trust, London, United Kingdom
Description
This is one of a set of three scenes from the life of Henry presumably executed for Queen Caroline and seen by Horace Walpole in her Dressing Room at St James's Palace in 1758.
The meeting between Henry V and the Queen of France (Isabella of Bavaria) and Princess Catherine of Valois was a pivotal diplomatic event in 1420, culminating in the Treaty of Troyes, which made Henry heir to the French throne, solidifying peace after the Battle of Agincourt and arranging his marriage to Catherine, though this union ultimately led to the young Henry VI's inheritance of both crowns before the French ultimately reclaimed their kingdom.
Rinaldo and Armida
Artist: Charles de La Fosse (French, 1636-1716)
Date: 1686-1691
Medium: Oil on canvas
Collection: National Trust Collections, London, United Kingdom
Description
Rinaldo, a Christian Prince or crusading knight and Armida, a Saracen sorceress, are a pair of lovers from the Italian epic poem on the subject of the Crusades, Gerusalemme Liberata (Jerusalem Delivered) (1581) by Torquato Tasso (1544-1595). The subject here is Armida and the sleeping Rinaldo when, during his search for a magical island on the River Orontes in Syria, Rinaldo falls into an enchanted sleep. Armida discovers him, meaning to kill him, but falls in love with him instead. Rinaldo is seen lying underneath some trees with his head on a cushion, his armour and a leopard skin laid to one side. He holds a spear in his left hand. Armida, with long blonde hair and blue cloak, kneels beside him. She is accompanied by two female attendants, Phenice and Sidonie. Three putti fly above the head of Rinaldo, carrying off his helmet, shield and sword. A fourth points to Rinaldo. A landscape with distant hills can be seen at the far left.
The French Republic
Artist: Antoine Jean Gross (French, 1771-1835)
Date: c. 1794
Medium: Oil on canvas
Collection: Louvre Museum, Paris, France
Alternative title: Liberty Standing in Warrior's Garb, with the Attributes of the Time (Lachèze Collection)
Portrait of Caroline Lambart, née Crawley, Countess of Cavan
Artist: Philip Alexius de László (British, 1869-1937)
Date: 1912
Medium: Oil on canvas
Collection: Private collection
Description
Caroline Inez Crawley was born on 6 February 1870, the eldest daughter of George Baden Crawley and his wife Eliza Inez Hulbert. On 1 August 1893 she married Frederick Rudolf Lambart (1865-1946) eldest son of Frederick Edward Gould Lambart, 9th Earl of Cavan, and his wife, Mary Sneade Olive. Her husband succeeded his father on 14 July 1900. During the Boer War the Countess went out to join her husband and rode out to see some of the battlefields with him. She was very supportive, especially after the First World War, when he considered resigning from the army as new appointments were slow to come, despite his impeccable record. Lady Cavan told him to be patient, which advice would prove to be wise, considering Lord Cavan’s subsequent achievements. However, by then, Lady Cavan already suffered from ill health, and did not witness the full flowering of her husband’s career. She died childless on 15 June 1920, aged fifty, and was buried at Ayot St Lawrence.
The Marchioness of Headfort Holding her Daughter Mary
Artist: Pompeo Batoni (Italian, 1708–1787)
Date: 1782
Medium: Oil on canvas
Collection: Museum of Fine Arts, Houston, Texas, United States
Description
Marquess of Headfort is a title in the Peerage of Ireland. It was created in 1800 for Thomas Taylour, 2nd Earl of Bective.
The Marquess holds the subsidiary titles of Earl of Bective (1766), Viscount Headfort (1762), Baron Headfort, of Headfort in the County of Meath (1760), and Baron Kenlis, of Kenlis in the County of Meath (1831), all but the last in the Peerage of Ireland. He is also an Irish baronet. Before the passage of the House of Lords Act 1999, the Marquess sat in the House of Lords as Baron Kenlis in the Peerage of the United Kingdom.
The family descends from Thomas Taylor, who came to Ireland during the 1650s from Sussex in England to oversee on behalf of Parliament the fiscal expenditure of Oliver Cromwell's campaign in Ireland and later undertook the duties of a cartographer assisting with Sir William Petty's project of mapping Ireland, known as the Down Survey.
And again by Ann-Jean