Richard J.S. Young Art
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Artist: Richard J.S. Young
Richard J.S. Young - Contemporary Oil, Of Fools & Kings
By Richard J.S. Young
Located in Corsham, GB
A thought-provoking work in oil by the contemporary artist Richard J.S. Young. Signed and titled to the reverse stretcher. On canvas on stretchers.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Framed Contemporary Acrylic, Mauve Dancers First State II
By Richard J.S. Young
Located in Corsham, GB
A fine work in acrylic by the contemporary artist Richard J.S. Young. Well presented in a cream wooden frame and inner white slip. On canvas.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Acrylic
Richard J.S. Young - Framed Contemporary Acrylic, Mauve Dancers First State I
By Richard J.S. Young
Located in Corsham, GB
A fine work in acrylic by the contemporary artist Richard J.S. Young. Well presented in a cream wooden frame and inner white slip. On canvas.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Acrylic
Richard J.S. Young - Contemporary Oil, Self Portrait in Bobble Hat
By Richard J.S. Young
Located in Corsham, GB
In this dynamic self portrait, the artist captures himself sporting a yellow bobble hat. The yellow is reflected in the striking background of pink strikes and yellow circles. Unsign...
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Pair of 2008 Acrylics, Man Takes a Break
By Richard J.S. Young
Located in Corsham, GB
A pair of dynamic pieces depicting expressive figures against abstract backgrounds. Signed and dated to the lower right. Titled verso. Sulus et Dualis Exhibition label verso. On canvas.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Acrylic
Richard J.S. Young - 2001 Oil, Nude on Cobalt
By Richard J.S. Young
Located in Corsham, GB
A striking, expressive nude study depicting a female model seated against a dark blue background. Signed and dated to the lower right. On board.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Contemporary Oil, Ancient Stones, Lewis (Outer Hebrides)
By Richard J.S. Young
Located in Corsham, GB
A very fine abstract composition in oils from artist Richard J.S. Young. Painted in an expressive manner with symbolic shapes. Unsigned. On canvas on stretchers.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - 2013 Oil, "Arguments on Authenticity"
By Richard J.S. Young
Located in Corsham, GB
A superb modernist oil on wove paper, from a set of paintings Richard Young created whilst at the Slade School in 2013. Signed and dated. On wove.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Contemporary Oil, Infinite Loops
By Richard J.S. Young
Located in Corsham, GB
A contemporary oil on canvas from artist Richard J.S. Young. Unsigned. On canvas on stretchers.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - 2012 Oil, Abstract Composition, FRIDGE, Anglepoised
By Richard J.S. Young
Located in Corsham, GB
A fine oil painting from artist Richard J.S. Young. Inspired by the artists' love of music and the electronic band 'FRIDGE', expressive brushstrokes and bold colours compliment one a...
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Signed Contemporary Mixed Media, Dancers
By Richard J.S. Young
Located in Corsham, GB
Watercolour and pastel painted on Artistico Fabriano watercolour paper. Signed. On wove.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Mixed Media
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Portrait of Gentleman, Thomas Bruce, Earl of Elgin c.1638 Manor House Provenance
Located in London, GB
Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo).
This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this time gone are the complicated layers of fabrics, and now replaced with understated elegance of plain silk (satin and taffeta were most popular), with only a couple of focal points as accessories. There is an abundance of the accessory par excellence – pearls, and they are worn as a necklace, on her attire, and as earrings; the pear-shaped earrings are called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth.
The portrait is thought to represent Thomas Bruce (1596-1654), Earl of Elgin. The physiognomy and features in our portrait strongly correlate to a portrait of the Earl, by Cornelius Johnson (1593-1661), painted circa 1638, and is held at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to ours and is thought to represent the Earl’s wife, Diana Cecil, 1st Countess of Elgin (c.1603-1654) - it appears to have derived from Cornelius Johnson’s depiction of the Countess circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. There are also other portraits by Johnson of the sitter with very similar facial features to that of the sitter in ours. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson.
Thomas Bruce, 1st Earl of Elgin, was a prominent Scottish nobleman who held titles such as the 3rd Lord Bruce of Kinloss. He resided at Houghton House in Bedfordshire and played a significant role in the political and social landscape of his time. His legacy as an Earl and Lord continues to be remembered in history.
Thomas Bruce, born in Edinburgh in 1599, inherited the Scottish peerage title as the 3rd Lord Bruce of Kinloss at the age of 13 following his brother's untimely death in a duel. The family's estates, including Whorlton Castle and manor, were granted by King James I of England to Thomas's father, with the wardship of Thomas and the estates entrusted to his mother until he reached the age of 21. He maintained a strong connection with King Charles I's court during the Personal Rule, receiving titles of honour and prestigious roles throughout the years.
Thomas Bruce was married twice in his lifetime. His first marriage was to Anne Chichester in 1622. Ann died in 1627, the day after giving birth to their only child, Robert Bruce, who later became the 1st Earl of Ailesbury. On 12 November 1629, Thomas Bruce married Lady Diana Cecil, the daughter of William Cecil and widow of Henry de Vere. The marriage was childless, but Diana brought significant estates with her. Thomas Bruce died on 21 December 1663 at the age of 64.
This oil on panel portrait has been well cared for over its life, which spans almost four centuries. Having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel.
Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare.
Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone.
Presented in a fine period frame.
Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility.
Provenance
Richard Hill...
Category
17th Century Old Masters Richard J.S. Young Art
Materials
Oil, Wood Panel
H 18.9 in W 16.15 in D 1.58 in
Portrait of a Lady Diana Cecil, Countess of Elgin c.1638, Manor House Provenance
Located in London, GB
Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo).
This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this fashion moved away from complicated layers of fabrics to an understated elegance of plain silk (satin and taffeta were most popular) with only a couple of focal points as accessories. However, obligatory for any respectable woman, pears are shown in abundance, as a necklace, on the dress attire, and pear-shaped earrings called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth.
The subject is thought to be Diana Bruce née Cecil, 1st Countess of Elgin (c.1603-1654). The physiognomy and features strongly correlate to a portrait of the countess by Cornelius Johnson (1593-1661), painted circa 1638, at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to this and is thought to represent the countess’s husband, Thomas Bruce, 1st Earl of Elgin (1599-1663) – it appears to have derived from Cornelius Johnson’s portrait of the Earl, of circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, appears to have modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson.
Diana Cecil, Countess of Oxford (1596–1654), later Countess of Elgin, was an English aristocrat. She was probably the middle daughter of the three daughters of William Cecil, 2nd Earl of Exeter and Elizabeth Drury. Her first husband, Henry de Vere, 18th Earl of Oxford, died in battle only 18 months after their marriage in 1624. She married her second husband Thomas Bruce (1599-I663) in 1629, becoming the Countess of Elgin in 1633. Her portrait was presumably painted at a similar time as the companion portrait of her husband, the Earl of Elgin. She died in 1654, outlived by her husband and leaving no children. A large monument exists of the countess in her burial shroud at Ailesbury Mausoleum, Bedfordshire.
The work has been well cared for over its life, which spanning almost four centuries, and having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel.
Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare.
Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone.
Presented in a fine period frame.
Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility.
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Richard Hill...
Category
17th Century Old Masters Richard J.S. Young Art
Materials
Oil, Wood Panel
H 18.9 in W 16.15 in D 1.58 in
Men portrait
By Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745)
Located in BELEYMAS, FR
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Portrait of a man
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Free Shipping
H 42.52 in W 32.68 in
ENOCH SEEMAN (circle of) PORTRAIT OF SIR FRANCIS SEYMOUR AS A BOY
By Enoch Seeman
Located in York, GB
ENOCH SEEMAN (circle of) PORTRAIT OF SIR FRANCIS SEYMOUR AS A BOY
A very fine 18th century portrait of Sir Francis Seymour as a boy,oil on canvas housed in a gilt frame, circle of Enoch Seeman
The size of the painting is 49 x 39.5cm (19¼ x 15½ in.) whilst overall the size is 65 cm x 56 cm
The painting is in very good condition, the Canvas has been relined, and recently cleaned.
Provenance: Anonymous sale, Christie's, 19 January 1945, lot 34 Anonymous sale, Crewkerne, Somerset, 24 April 2009, lot 1947
SIR FRANCIS SEYMOUR
Francis Seymour, 1st Baron Seymour of Trowbridge (c. 1590 – 12 July 1664), of Marlborough Castle and Savernake Park in Wiltshire, was an English politician who sat in the House of Commons at various times between 1621 and 1641 when he was raised to the peerage as Baron Seymour of Trowbridge. He supported the Royalist cause during the English Civil War.
In June 1611 he was accused of abetting the escape of his brother William Seymour and his wife Arabella Stuart, but protested his innocence. He was knighted by King James I at Royston on 23 October 1613. In 1612 was settled on him by his grandfather the manor of "Puriton with Downend" in Somerset, formerly one of the many possessions of his great-grandfather the 1st Duke of Somerset.
In June 1642, Seymour signed the declaration that the king had no intention of war. He followed the King to York, offering to raise twenty horse in his cause, and Parliament accordingly declared him a delinquent. In autumn 1642 he went with his brother, the Marquis of Hertford, into the Westcountry to organise the royalist forces and suppress the parliamentary militia. He crossed the Bristol Channel...
Category
18th Century Realist Richard J.S. Young Art
Materials
Oil
"Abstract Calligraphy" Abstract Painting 98" x 79" inch by Ibrahim Khatab
By Ibrahim Khatab
Located in Culver City, CA
"Abstract Calligraphy" Mixed Media Painting 98" x 79" inch by Ibrahim Khatab
Ibrahim Khatab was born in Cairo 1984, works as a co-teacher in Cairo Uni...
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21st Century and Contemporary Abstract Richard J.S. Young Art
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Canvas, Wood, Mixed Media, Acrylic
Previously Available Items
Richard J.S. Young - Contemporary Oil, Repod II
By Richard J.S. Young
Located in Corsham, GB
A thought-provoking work in oil by the contemporary artist Richard J.S. Young. Entitled 'Repod II in three colours & white'. Signed and dated to the lower left. On board.
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21st Century and Contemporary Richard J.S. Young Art
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Richard J.S. Young - Contemporary Oil, Taming the Shrew
By Richard J.S. Young
Located in Corsham, GB
A fine work in oil by the contemporary artist Richard J.S. Young. On paper laid to wooden panel.
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21st Century and Contemporary Richard J.S. Young Art
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Oil
Richard J.S. Young - Contemporary Oil, A Dangerous Over-Simplification
By Richard J.S. Young
Located in Corsham, GB
A fine work in oil by the contemporary artist Richard J.S. Young. On canvas.
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21st Century and Contemporary Richard J.S. Young Art
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Richard J.S. Young - Contemporary Oil, Fashion II: To Beguile
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A fine work in oil by the contemporary artist Richard J.S. Young. On paper laid to wooden panel.
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Richard J.S. Young - Contemporary Oil, Constable Pastiche
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A fine work in oil by the contemporary artist Richard J.S. Young. On board.
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Richard J.S. Young - Contemporary Oil, To Trust the Opportunity of Night
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A fine work in oil by the contemporary artist Richard J.S. Young. On panel.
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Richard J.S. Young - 2018 Oil, Night Train
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A vibrant study depicting two resting travellers on a night train. The rest their heads on each other as they snooze against the bright yellow background. Signed, titled and dated to...
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Richard J.S. Young - 1980 Oil, Vibrant Nude
By Richard J.S. Young
Located in Corsham, GB
A striking nude study depicting a female figure in abstract forms. The artist uses bold primary colours to create an abstract background. Signed to the lower right. On canvas board.
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
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Richard J.S. Young - Contemporary Oil, Devices Used for Balance
By Richard J.S. Young
Located in Corsham, GB
A charming still life study depicting a ceramic jug and a pair on an abstract background. Signed and titled to the reverse. On board.
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21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - 2020 Oil, Jamaican Man
By Richard J.S. Young
Located in Corsham, GB
A delightfully vibrant portrait of a man staring into the distance. He is placed against an abstract background captures in an expressive style. Signed to the lower right. Titled and...
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.S. Young - Contemporary Oil, A Knowing Stare
By Richard J.S. Young
Located in Corsham, GB
A dynamic portrait depicting a woman draped in striking shades of purple and black. Unsigned. On canvas.
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21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
H 12.56 in W 10.01 in
Richard J.S. Young - 2017 Oil, Neil's Trees
By Richard J.S. Young
Located in Corsham, GB
A charming depiction of a sunlit park with towering trees. Painted in an expressive style with a keen focus on using light and shadow to create depth in the...
Category
21st Century and Contemporary Richard J.S. Young Art
Materials
Oil
Richard J.s. Young art for sale on 1stDibs.
Find a wide variety of authentic Richard J.S. Young art available for sale on 1stDibs. If you’re browsing the collection of art to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of orange and other colors. You can also browse by medium to find art by Richard J.S. Young in paint, oil paint, acrylic paint and more. Not every interior allows for large Richard J.S. Young art, so small editions measuring 10 inches across are available. Customers who are interested in this artist might also find the work of Spe , Simon Ledson, and David Hollier. Richard J.S. Young art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $276 and tops out at $764, while the average work can sell for $388.