Art

This charming British Victorian oil painting is by noted artist Albert Chevalier Tayler. Painted in 1896 the composition is four women in a sitting room. One young woman is holding u...

Portrait of Barbara Herbert, Countess of Pembroke c.1708 Charles d’Agar (1669-1723) This magnificent large-scale portrait, presented by Titan Fine Art, depicts the British court of...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Continental, 19th Century oil on canvas, framed Monogrammed 'WM' and dated '1868' lower right framed: 34 x 48.5 inches canvas : 29.5 x 44 inches Provenance: private collection, UK Co...

The Village Lane British artist, early 20th century oil on board, framed framed: 7 x 8.5 inches board: 6 x 7.5 inches provenance: private collection, England condition: very good an...

This superb British Old Master marine oil painting is attributed to Peter Monamy. Painted circa 1730 it depicts Morning Gun - A morning gun is a gun fired at the first note of revei...

17th century Lombard painter Saint Michael Archangel Oil on canvas 139 x 75 cm. - Framed 156 x 91 cm Antique painting with St. Michael the Archangel, immortalised full-length as a ...

Work on canvas Work re-lined Plaster and gilded wood frame 86 x 105 x 7 cm

Fruit Still Life Attributed to Ferdinand Cirel (Welsh 1884 - 1968) signed bottom right oil on board, framed framed: 14 x 15 inches painting: 10 x 12 inches provenance: from a collect...

A lovely portrait of a turn-of-the-century elegant woman, perhaps commissioned by a devoted husband (she has a ring on her right hand, which is more common as a wedding ring in north...

Alfred Wheeler British, (1852-1932) Diamond Jubilee with Jockey Up Oil on canvas, signed, inscribed & dated 1900 Image size: 19.25 inches x 23.5 inches Size including frame: 30 inches x 34 inches Provenance: T Richardson & Co, Piccadilly, London A wonderful sporting horse portrait by Alfred Wheeler of the racehorse Diamond Jubilee with Jockey Up. A bay stallion is depicted standing side on in a landscape, most likely Newmarket Heath, with another racehorse and jockey in the distance. The horse’s head is slightly turned towards the viewer to reveal a white diamond shape mark on his forehead running into a line down his face. On his lower forelegs can be seen leg wraps which were used during training and exercise. Research has identified the jockey as being Herbert Jones...

The former Curator of Oil Paintings at the National Maritime Museum, E H H Archibald, says of Joseph Heard in his Dictionary of Sea Painters in Europe and America that "…with Samuel Walters he must stand as the top-ranking Liverpool ship portraitist of the 19th century." He would have known the artist's work well as the National Maritime Museum has eleven paintings by Heard in its collection. Joseph Heard was born on 7th March 1799 in Egremont near Whitehaven in Cumberland. His father, also Joseph, was a saddler and it is believed that the aspirant painter received some artistic training from John Clementson who was a local portrait painter. Joseph had a brother Isaac who painted portraits. It is possible that Joseph came across the work of H Collins...

Portrait of a Lady, Mrs Wray in a Silk Dress & Pink Wrap c.1698 Circle of Michael Dahl (1659-1743) This delightful work, presented by Titan Fine Art, is a fine example of British po...

Here for your consideration is a very well executed and highly detailed oil on mahogany wooden panel painting by one the the leading Victorian artists of the day, Joseph Thors. Sign...

Colour lithograph, 1890. 210mm by 285mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

Classical Landscape English School, early 19th century, unsigned oil on canvas, unframed canvas : 19 x 27 inches Provenance: private collection, UK Condition: The painting is in very...

This fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

Private readings - Angelo Granati Italia 2013 This is his reinterpretation of a greatest old master painting "Comparisions"by Sir Lawrence Alma-Tadema. ...

A large impressive original Victorian oil painting which was painted circa 1890 by Scottish listed artist Joseph Farquharson RA. This Romantic Scottish landscape view is in fine condition and is framed in a Victorian gilt gallery frame. He was a noted landscape painter of snow scenes around Finzean in Aberdeenshire and often painted at dusk or dawn. This painting however depicts a sublime Scottish river landscape with a river and the mountains in the background. It is a very expansive panoramic view. A large painting in good condition and a lovely example of a 19th century Scottish landscape. Similar examples of his paintings are on display in Kelvingrove Art Gallery Glasgow and the National Gallery Scotland. Signed Joseph Farquharson. Provenance. Scottish collection. Condition. Oil on canvas. Image size is 37 inches by 27 inches, fine condition. Framed size is 44 by 34 inches, housed in a gilt gallery frame. Excellent condition. Born in Edinburgh, Scotland in 1846, Joseph Farquharson combined a long and prolific career as a painter with his inherited role as a Scottish laird. He painted in both oils and water colors. His mother, a celebrated beauty, was an Ainslie. His early days were spent in his father's house in Northumberland Street below Queen Street Gardens and later at Eaton Terrace beyond the Dean Bridge, Edinburgh and at Finzean. His father Francis was a doctor and laird of Finzean in Aberdeenshire. Joseph was educated in Edinburgh and permitted by his father to paint only on Saturdays using his father’s paint box. When Joseph reached the age of 12, Francis Farquharson bought his son his first paints he could call his own and only a year later he exhibited his first painting at the Royal Scottish Academy. His first major portrait was of ' Miss Alice...

Artist/ School: by Francis E. Jamieson, British 1895-1950 signed with the artists pseudonym 'Joel Owen', dated 1926. Title: The Highland Glen Medium: oil on canvas, unframed Can...

Scottish Mountain Landscape By Alex Fraser, Scottish School, late 19th century Oil on canvas, unsigned, framed Framed: 13 x 20 inches Canvas: 10 x 18 inches Provenance: Private colle...

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

Beautiful proof of I state on III before the white space under the sword is covered. Without Margins. Very good condition. Ref. Bartsch 92; Biörklund 40-B; Hollstein (White and Bo...

study of a seated clumber spaniel, oil on canvas, signed and dated 1929 lower left. Housed in a new gilt frame. Paintings of these beautiful dogs are...

The Scottish Highlands signed by F. E. Jamieson (British 1895-1950) oil on canvas, framed framed: 24.5 x 35 inches canvas: 20 x 30 inches provenance: private collection, UK condition...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

Gerard Thomas (Antwerp 1663-1720) Attributed to The Artist's Studio Oil on canvas (99 x 115 cm - in frame 70 x 86 cm) This fascinating painting, depicting the interior of an ar...

A wonderfully fluid watercolour capturing the end of the day on a Cornish beach, most probably Newlyn where Richards was painting from the 1890s onwards. Frank Richards (1863-1935) ...

"The Days Bag" by ROBERT CLEMINSON (British, 1864-1903) signed oil on canvas, framed framed: 24 x 32 inches canvas: 16 x 24 inches provenance: private co...

A beautiful composition capturing one of the well known buildings of Rouen, a city that was very popular with early 19th century watercolour painters. John Sell Cotman painted this v...

16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting...

This superb British Old Master portrait oil painting is attributed to circle of noted artist Michael Dahl. Although born in Sweden, Dahl lived and worked most of his life in England ...

Samuel Alken Jnr (1784-1825) Snipe Shooting Signed 'S. Alken' Oil on canvas Painting Size - 12 x 16 1/2 in Framed Size - 17 x 21 1/2 in Samuel Alken Junior (1784–1825) Samuel Alken ...

17' century Still-life oil on canvas with Fruits and an amazing red parrot background with landscape and garden with architectural elements. Gilt painted frame . It is attribute...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

The Hon. Henry Richard Graves (1818–1882) The Countess of Uxbridge mounted on 'Rose', a dark bay hunter with a terrier by a stile Oil on canvas Painting Size - 28 x 36 in Canvas Siz...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

Hand-colored print of the engraving by Antoine Alexandre Joseph Cardon of the original painting by Gabriele Ricciardelli. Edizioni Pontevecchio. Lily logo and a brush with the inscr...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999. The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further. The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work. The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson. Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented. Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre. Information: Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep...

Tantallon Castle, Scotland *see notes below by William Anslow Thornely (British, 1847-1907) signed oil painting on panel, framed framed: 14.5 x 18.5 inches panel: 8 x 12 inches Provenance: private collection, England Condition: overall very good condition William Anslow Thornley (1847–1907) was a British maritime and landscape painter known for his atmospheric seascapes and coastal scenes. He worked primarily in oils and watercolors, often depicting harbors, ships, and the changing moods of the sea. Thornley was skilled at capturing the effects of light and weather, particularly in twilight and moonlit settings, which added a romantic and serene quality to his works. Although not much is widely known about his personal life, Thornley's style reflects the influence of British Romanticism and the Victorian...

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

The Gleaner by Charles Sillem LIDDERDALE (British, 1831-1895) signed & dated 1890 oil painting on canvas, framed in what we believe to be the original frame framed: 51.5 x 37.5 inch...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

Victorian Marine Oil Painting of Fishing Boats off the Coast in Choppy Seas at Sunrise. A Traditional British Marine Scene off the Coast depicting Fishing Boats in a swell. The sea...

A stunning 19th century English Antique oil landscape with cows resting by a river. Alfred Vickers was a painter of marine subjects and landscapes. He exhibited extensively througho...

Studio of Sir Peter Lely (1618-1680) Portrait of Lady Anne (1665–1714), later Queen Oil on canvas 20⅞ x 16¾ in. c.1678 Provenance Capt. H. A. N. Forte of Polock, West Somerset; Chri...

Rural Landscape Les Parson (b.1945) signed oil painting on canvas, framed framed: 17 x 22 inches canvas: 12 x 16 inches provenance: private collection cond...

The Country House Interior British School, 19th century oil painting on canvas, framed canvas: 21 x 17 inches framed: 24 x 20 inches conditon: very sound, presentable and good. Frame...

'India' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches con...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

Attributed to John Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London A fine and spirited example of early 19th-centu...

Samuel Alken Jnr (1784-1825) Pheasant Shooting Signed 'S. Alken' Oil on canvas Painting Size - 12 x 16 1/2 in Framed Size - 17 x 21 1/2 in Samuel Alken Junior (1784–1825) Samuel Alk...

This charming 18th century French Old Master oil painting is attributed to circle of Joseph Frans Nollekens. Painted circa 1740 it is described as a fete champetre - a form of entertainment in the 18th century, taking the form of a garden party. They were often elegant affairs and became very popular in 18th French paintings. Antoine Watteau invented the genre, from around 1710 and they were also included as a category in the French Academy. In this painting, several well dressed figures are sat in the foreground by a fountain and statue, being entertained by a musician. Beyond, a wide avenue of trees leads towards a very grand country house with countryside beyond. There is superb detail in the figures and their colourful clothing. The brushwork in the trees and sky is also superb. This is a charming example of an 18th century fete champetre and of a French Old Master oil painting. Provenance. Gloucester estate. Condition. Oil on canvas. Image size 49 inches by 30 inches and in good condition. Frame. Housed in a fine gilt frame, 56 inches by 37 inches and in good condition. Josef Frans Nollekens or Joseph Frans Nollekens (1702–1748)[2] was a Flemish painter who was principally active in England where he is often referred to as "Old Nollekens" to distinguish him from his famous son, the sculptor Joseph Nollekens. He painted conversation pieces, galant companies and fêtes champêtres in the style of Watteau, genre scenes as well as portraits. He was also active as a picture restorer. A fête champêtre was a form of entertainment in the 18th century, taking the form of a garden party. This form of entertainment was particularly practised by the French court, where in the Gardens of Versailles and elsewhere areas of the park were landscaped with follies, pavilions, and temples to accommodate such festivities. The term is a French expression, very literally translating as "party in the fields", meaning a "pastoral festival" or "country feast" and in theory was a simple form of entertainment, perhaps little more than a picnic or informal open air dancing. In practice, especially in the 18th century, the simplicity of the event was often contrived. A fête champêtre was often a very elegant form of entertainment involving on occasions whole orchestras hidden in trees, with guests sometimes in fancy dress. Such events became a popular subject in French 18th-century painting, representing a glamourized aristocratic form of pastoral, with "scenes of well dressed dalliance in a park setting". Antoine Watteau invented the genre, from around 1710, and is its best exponent, imitated by others such as Nicolas Lancret and Jean-Baptiste Pater...

Attributed toJohn Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London Though the painting has impeccable provenance as ...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1800-1810 (First-second ser...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

The Highland Loch signed by F. E. Jamieson (British 1895-1950) indistinctly titled verso, most likely a loch in the Trossochs region of Argyll. oil painting on canvas, unframed canv...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...