Old Masters Figurative Paintings

Guido Reni (Bologna, Italy, 1575 – 1642) Title: Masculine Head Medium: Oil on canvas Dimensions: without frame 44.7 × 51.2 cm – with frame 62.8 x 68.3 x 5.5 cm Not signed Expertise...

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...

1910s Italian Signed Landscape Beautiful oil painting on cardboard by the great Bolognese artist Ugo Gheduzzi (Crespellano BO 5 March 1853 - Turin 1925). The light of rare intensity...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra (el marco presenta algunos signos de uso) El estado de la obra es aceptable, solo com...

A fine oil painting with cherubs and a cart of fruit by French artist Leger Cherelle (1816-1867). Cherelle was born in Versailles, France, a...

A. Lion (French, c. 1900) A tryptic depicting the Annunciation flanked by two Saints Signed “A. LION” (to the left of Mary) Oil on board Framed dimensions 23. ½ x 37. ½ in. (60 x 95...

Madonna and Child with Angels Attributed to Louis de Caullery (1565 -1622) for figures & Abraham Govaerts (1589 - 1626) for landscape Not signed 17th century Antwerp school, circa 16...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

Gerard SOEST (1600 - 1681) Portrait of a Young Boy oil on canvas 35.5 x 30.5 inches inc. frame Gerard Soest (circa 1600 – 11 February 1681), also known as Gerald Soest, was a portra...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

Artist/ School: 17th Century Dutch School Title: Ladies Collecting Flowers Medium: oil painting on panel, framed Oval : 6.75 x 9.25 inches, frame...

Matteo Bonechi (Florence, Italy, 1669 - Florence, Italy, 1756) Title: Presentation of Jesus Medium: Oil on canvas Dimensions: without frame 75 x 49 cm – with frame 89.5 x 65 cm Shaped, carved and gilded wooden box frame Not signed Expertise by Sandro Bellesi, Professor and art historian Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

This superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. Painted circa 1640 it is an Italianate wooded river landscape with drovers and their herd crossing a river with a watchtower beyond. Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. It has Begeyn's characteristic brightly lit cattle and grouping of figures, similar to a comparable painting in the Lichtenstein Princely Collections. The brushwork and details are superb. One can see the influence of his teacher Nicholaes Berchem (1620-1683) and the typical golden glow of the Golden Age painters. This is a stunning 17th century Golden Age oil painting and an excellent example of Begeyn's work. Provenance: With Koetser Gallery, Zurich. Private Collection (Rhine region). Anon. sale, Dorotheum, Vienna, 22 June 2010, lot 357, as by Jacob de Heusch (€18,600). Anon. sale, Christie's South Kensington,18 November 2015, lot 432, as 'Follower of Nicolaes Berchem'; where purchased by the present owner. Note: Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. He is thought to have studied under Nicolaes Berchem (1620-1683), a pioneer of this genre of landscape painting, and travelled extensively to Italy, London and later to Germany in 1688, where he lived out his days as court painter to Frederick III, Elector of Brandenburg (later Frederick I, King of Prussia). The present work was previously thought to be the work of Jacob de Heusch (1656-1701), but has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. A comparable scene, which also includes Begeyn's characteristic brightly lit cattle and a similar figure group, was sold at Christie's Amsterdam, 18 November 2015, lot 110. Another can be found in the Liechtenstein Princely Collections (no.GE 290). Condition. Oil on canvas, image size 21 inches by 18 inches and in good condition. Frame. Housed in a beautiful gilt frame, 28 inches by 25 inches and in good condition. Abraham Begeyn (c. 1637 Leiden - 11 June 1697 Berlin), was a Dutch Golden Age painter. Begeyn was born in Leiden. Though perhaps known mostly for his Italianate landscapes and cattle in the manner of Nicolaes Pietersz Berchem, Begyn was a highly skilled painter active in many genres, who travelled widely. According to the RKD, Begeyn's earliest known work is from 1653, though he was first accepted into the Guild of St. Luke in Leiden in 1655. He stopped paying dues in 1667, because he set off for a trip to Italy. He is registered in Rome and Naples from 1659–1660. In the rampjaar or disaster year, of 1672, he is registered in Amsterdam, and after that he lived in London, where he painted at Ham House, Surrey, together with Willem van de Velde the Younger (1633–1707) and Dirck van Bergen...

Artist/ School: Italian School, 17th century Title: The Bathing of Bathsheba Medium: oil painting, on canvas Size: frame: 23 x 19 inches, canvas: 18 x 14 inches Provenanc...

A good antique Dutch/Flemish oil on panel painting, after Cornelis van Poelenburgh, circa 1850. The painting portrays a number of nude and par...

Circle of Jean-Antoine Watteau (French, 1684-1721) Freeing a dove Oil on canvas 27.3/4 x 38.1/8 in. (70 x 96.8 cm.) Possible repair to upper right. In overall good order for the age...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

The Coronation of the Virgin. Oil on copper. All of our works are covered by our own guarantee of authenticity which covers the work for its ...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

Giovanni Giacomo Sementi (Bologna, Italy, 1580 - Rome, Italy, 1636) - Pier Francesco Cittadini (Milan, Italy, 1616 - Bologna, Italy, 1681) Title: Danae Medium: Oil on canvas Dimensions: without frame 119 x 179 cm - with frame 140 x 200 x 12 cm, weight 35 kg Expertise by Professor Giancarlo Sestieri, art historian Publications: Carne - la materia dello spirito, exhibition catalogue curated by Father Alessio Geretti, project of the scientific catalogue curated by Father Alessio Geretti, Nicole Pravisani and Giulia Toffoletti, (21 May - 22 October 2023), Illegio, Casa delle Esposizioni, pp. 56-59; Body, Love and Feelings - Works of Ancient Masters from the 16th to the 19th century. In the paintings of Giorgio Baratti private collection, Milan, exhibition catalogue curated by Alessandro Marchi, (27 July - 18 September 2011), San Marino - Historical Centre, pp. 38-39; Giorgio Baratti Collezione. Selezione di opere d’arte antica (Giorgio Baratti Collection. Selection of ancient works of art), curated by Professor Giancarlo Sestieri and with the participation of Professor Andrea Emiliani, Grafiche Veneziane, Venezia 2011, pp. 22-23. It is a gentle and graceful Danae the one portrayed by Giovanni Giacomo Sementi. A painting in which the Milanese painter Pier Francesco Cittadini also collaborated by painting the golden basin filled with flowers to the left of the scene. The work shows various pictorial influences; from the Bolognese Emilian style, to that of Ludovico Carracci (1555 - 1619) and Guido Reni (1575 - 1642), to the Baroque and Roman style. The work features an elegant red drapery which serves as the background to the entire scene, but the real protagonist is the young woman with long red hair who is lying on a bed covered by a white sheet. The girl is naked except for a lapis lazuli blue mantle...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

Land Battle - Antonio Savisio Italia 2006 - Oil on canvas diam. cm. 30 Gold leaf gilded and laquered wooden frame cm. 47x47 Maestro Antonio Savisio drew inspiration from the masterp...

This charming large British Old Master pastoral oil painting is by noted artist Francis Wheatley. It was painted in 1797 and depicts five figures, a family and a dog in a woodland s...

A Tavern Interior - 18th Century Old Master, Figurative Oil Painting by Schaak Little is known about the artist J.S.C. Schaak. He was active in England as a portraitist between 1760-1770. His name indicates his German or Dutch origin. Especially portraits of generals...

Born in Antwerp, Artus Wolffordt received his training in Dordrecht where he became a master in 1603 at the age of twenty-two. He returned to his native city in 1615 and initially worked as an assistant to Otto van Veen...

Brinckmann Philipp Hieronymus Spire 1709 – 1761 Manheim Old Master 'A Pair of Forest Landscapes with River and Boat in the Foreground' Signature: signed "Ph. Brinckm" bottom lower ...

la obra va firmada en la parte inferior "roman ribera" esta obra és de aproximadamente ultimo tercio del siglo xix el estado de la obra es bueno la obra se presenta enmarcada con ...

Esta obra es una de las escenas de la Misericordia, en concreto la de "Visitar a los presos" La obra aparentemente no va firmada Se presenta tal cual sin enmarcar El estado de la ...

Gioacchino Toma (Galatina, Italy, 1836 – Naples, Italy, 1891) Title: The Ash Rain of Mount Vesuvius Medium: Oil on canvas Dimensions: without frame 93 x 150 cm - with frame 112 x 166...

Crucifixion, cercle of Adriaen Isenbrandt, mid 16th century School of Bruges, cercle of Adriaen Isenbrandt (actif 1510-1551) Oil on oak panel with its original ebonized frame Dimensi...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

Provenance: Achillito Chiesa, Milan Luigi Albrighi, Florence, by 1 July 1955 with Marcello and Carlo Sestieri, Rome, 1969 Private Collection, Connecticut Exhibited: Mount Holyoke College Art Museum, South Hadley, Massachusetts (on loan, 2012) Literature: Carlo Volpe, “Alcune restituzioni al Maestro dei Santi Quirico e Giulitta,” in Quaderni di Emblema 2: Miscellanea di Bonsanti, Fahy, Francisci, Gardner, Mortari, Sestieri, Volpe, Zeri, Bergamo, 1973, pp. 19-20, fig. 18, as by the Master of Saints Quiricus and Julitta (now identified as Borghese di Piero). This fine predella panel depicting the Baptism...

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

Landscape Finder. Goyo painted this intriguing painting in 1994, when his inspiration from the old masters was most noticeable. The artist declares: “I feel a powerful attraction to ...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

Colonial School, Mexico, XVIII Century "Virgen del Carmen" Oil on canvas 70 x 40 in

Pietro Della Vecchia (Venice, Italy, 1603 - Vicenza, Italy, 1678) Title: The Alchemists Medium: Oil on canvas Dimensions: without frame 73 x 97 cm – with frame 90.4 x 114.3 x 6 cm N...

Oil on panel 13 ⅜ x 9 ⅞ inches; 34 x 25 cm Framed dimensions: 43.4 x 34.3 cm Not signed c. 1730s Collections: James Brydges, Duke of Chandos; Chandos sale, Christopher Cock, Lond...

Huge and very decorative castle painting. Antique oil painting. Probably 18th century. "Kings from all over the world in Bethlehem". Christian scene. Canvas relined. Big, heavy fr...

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Fra...

This interesting Italian 18th century Old Master oil painting is by noted artist Marco Marcola, also known as Marco Marcuola. It was painted circa 1770 and has excellent provenance. ...

Domenico Maria Canuti (Bologna 1626 - 1684) Title: Toilet of Venus with Cupids and Satyrs Medium: Oil on canvas Dimensions: without frame 79 x 98 cm - ...

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

18th Century French Maestro Title: Bacchanal Medium: Oil on canvas Dimensions: without frame 24 x 30 cm - with frame 33.5 x 39 cm Antique shaped wooden frame lacquered in mustard col...

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

Carlo Bononi (Ferrara, Italy, 1569 – 1632) Title: The triumph of David Medium: Oil on canvas Dimensions: without frame 41 x 28.5 cm – with frame 57 x 46 x 6 cm Not signed Provenance...

Madonna and Child with Saint John the Baptist and angels Circle of Joos Van Cleve (1485 – 1541) 16th century Antwerp school Oil on oak panel Dimensions: h. 32 cm (13 in.), w. 28.5 cm...

Domenico Maria Canuti (Bologna, Italy, 1626 – 1684) Title: Assumption of the Virgin Medium: Oil on canvas Dimensions: without frame 138 x 104.5 cm Not signed Expertise by Professo...

Abraham van CUYLENBROCH (1620-1658) Diana With Her Attendants in a Grotto 1651 signed oil on panel 12.2 in x 15.7 inches, inc. frame; 31 x 40 cm Provenance: Sale of Sotheby's Lo...

This superb trompe l'oeil painting is in the typical manner and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central ca...