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Displaying items by tag: Portrait

On Monday night's episode of "Antiques Roadshow," a very special portrait painted by American artist and sculptor Frederic Remington was given a price tag even the owner couldn't believe.

"This piece, together with the letter, would be something that I would value at auction between $600,000 and $800,000," said appraiser Colleene Fesko on "Antiques Roadshow."

"Oh my goodness! I was hoping I would be wildly exuberant. I am," said Ty Dodge, the painting's owner.

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A portrait of Rubens’ young daughter Clara Serena, recently deaccessioned by New York’s Metropolitan Museum of Art, is going on display at the Rubenshuis in Antwerp. In 2013, it was auctioned as by a “follower of Rubens”, with an estimate of $20,000-$30,000. Now upgraded as authentic, it will hang in the artist’s own house, in the exhibition “Rubens in Private: the Master Portrays his Family” (March 28-June 28).

The earliest certain provenance of the portrait goes back to a New York collector in the 1930s and it was considered authentic until the American specialist Julius Held downgraded it in 1959.

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The Goldwyn family, the great Hollywood film dynasty, will sell its art collection following the death of producer Samuel Goldwyn Jr. two months ago. With an estimated worth of $25 million–$30 million, the collection will be parceled out over nine auctions at Sotheby's New York between May and October.

The centerpieces of Goldwyn's holdings are Pablo Picasso's "Femme au Chignon Dans un Fauteuil" (1948), a portrait of the artist's lover Françoise Gilot and, and "Anémones et Grenades" (1946), a Matisse still life. The Picasso is estimated to sell for as much as $18 million, while the Matisse, bought for $13,500 in 1948, is tagged at upwards of $5 million.

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The portraits of Maerten Soolmans and Oopjen Coppit, a young and successful couple that Rembrandt van Rijn painted just before their wedding in 1634, might hit the market very soon, "El País" reports.

The sale could be a sensational event, as the paintings have been in France since 1877, when they were bought by Baron Gustave de Rothschild, and have rarely been displayed in public since.

The current owner, Eric de Rothschild, has obtained an export permit, granted by the French Ministry of Culture and the Louvre Museum, and according to the French publication "La Tribune de l'Art," has put a €150 million price tag on the paintings in the documents.

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The Frist Center for the Visual Arts presents "Telling Tales: Stories and Legends in 19th-Century American Art" through June 7, 2015, in the Center’s Upper-Level Galleries. The exhibition features paintings and sculptures that recount stories relating to American cultural aspirations and everyday life throughout the 19th century. Narrative landscapes by Thomas Cole and Asher B. Durand of the Hudson River School, genre scenes by William Sidney Mount and Francis W. Edmonds and sculptures by John Rogers are among the highlights of the exhibition.

Assembled from the collection of the New-York Historical Society, Telling Tales integrates genre, historical, literary and religious subjects—through styles ranging from Neoclassicism to Realism—to paint a vivid portrait of American art and life during the country’s most formative century. The exhibition is organized into six sections: “American History Painting,” “English Literature and History,” “Importing the Grand Manner,” “Genre Paintings,” “Economic, Social, and Religious Division” and “Picturing the Outsider.”

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Museum-goers are anticipating this fall’s debut of the Louvre Abu Dhabi in the United Arab Emirates, part of a long-term cultural agreement with the French government. One recent acquisition may surprise visitors: Museum officials in Abu Dhabi say they have paid Los Angeles’s Armand Hammer Foundation an undisclosed sum for a Gilbert Stuart portrait of George Washington.

The 1822 painting shows the first American president sitting at a desk, one hand resting on a document, the other cradling a sword hilt. Other Washington portraits by Stuart have sold for around $8 million, according to dealers and auction records.

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The Philadelphia Museum of Art has announced the acquisition of five major French paintings as a bequest from a longtime supporter.

The works are a late Cezanne painting of Mont Sainte-Victorie, a Manet still life of fruit, a landscape and cityscape by Pissarro and a Morisot portrait. All were a bequest from Helen Tyson Madeira, who died last year.

The museum also announced that it had received two early portraits by Marcel Duchamp.

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A sketch of Van Gogh has been discovered in an album of drawings by his friend, the French artist Emile Bernard (1868-1941). Other than self-portraits, there are very few depictions of Van Gogh, so this represents a remarkable find. It is being published for the first time by "The Art Newspaper" and will be unveiled during a coming exhibition at the Kunsthalle Bremen.

Bernard’s hasty sketch captures Van Gogh in a Parisian café, probably in Montmartre. He is drinking with two women, most likely prostitutes. Van Gogh has a short beard, moustache and slightly receding hair. Most noticeable are the piercing eyes. The sketch has spontaneity, suggesting that Bernard drew it while they were out for an evening.

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The Fine Arts Museums of San Francisco have acquired the first painting to enter their collections by Eugène Delacroix (1798-1863), an artist whose work helped to define Romanticism in the visual arts.

Delacroix’s “Portrait of Charles de Verninac” (circa 1826), acquired by purchase from an anonymous American collector with resources from the Roscoe and Margaret Oakes Income Fund, depicts with great liveliness the artist’s nephew, less than five years his junior. They had been close companions since childhood and corresponded frequently as their adult lives separated them.

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In the aftermath of the Paris atrocities, intellectuals have turned to enlightenment thinkers to refute religious orthodoxy. “I kept thinking of Voltaire,” writes scholar Robert Darnton in an essay for NYRB, “And calling up his famous grin — lips curled and lower jaw stuck out, as if to defy anyone who might dare to pull a punch.” That impish, thin-lipped smile is now on view at the Château de Versailles. In response to the attacks, the palace has rehung a portrait of the revolutionary 18th-century French writer in a central hall, the New York Times reports. “What is Tolerance?” reads a nearby quote by the philosopher in French and English. “It is the consequence of humanity.”

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