Old Masters Paintings

This stunning British 18th century Old Master portrait oil painting, with exceptional provenance, is by noted artist George Romney. It was painted in 1788, commissioned by James Evelyn of Felbridge as it is of his younger daughter Anne, aged 20 years old. James was a Doctor of Law and Anne's mother was his second wife, Jane. Felbridge house, Anne's home, was in the village of Godstone in Surrey. This superb oil painting is a seated portrait of Anne, wearing a white dress with a green sash, her forearms exposed and her hands in her lap. Anne is blessed with the most wonderful long auburn curly hair and is visually stunning. Her body is partly turned away from the artist/viewer and she is slightly gazing down at us with confident, clear eyes. Anne is pictured in a landscape with a dramatic sky behind her. Romney's brushwork on her dress, hair and the background is superb. The delicate detailing of her facial features is also stunning. Sometimes Old Master portraits can be a little staid, but this one of Anne with her wild auburn hair and bold look is just magnificent. This is a fantastic example of George Romney's work and of an 18th century British Old Master with exceptional detailed provenance. Name plate states: Anne, younger daughter of James Evelyn of Fellbridge Esq. 1788, aged 20. Romney. Provenance. With Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851) With The Hon. Henry Berkeley Portman (1860-1923), Later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) By 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962) Thence by family descent. Painted in 1788. There are various labels verso. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, p.18, no. 3, at Buxted Park, as in the 'Dining Room, South Wall'. Further Bibliography: Gower (R. S.) Romney, London, 1904, p. 175 Kidson (Alex) George Romney, A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 2015, I, p. 205, no. 422 (illus).Ward (Humphrey) and Roberts (William) Romney: A Biographical and Critical Essay, London: T Agnew & Sons, 1904, p. 51 Condition. Oil on canvas. Image size 30 inches by 24 inches and in good condition. Frame. Housed in an ornate gilt frame with name plate, 37 inches by 31 inches and in good condition. George Romney (1734-1802) was born in Dalton-on-Furness, Lancashire, on 15 December 1734, the third of the eleven children of John Romney and Anne Simpson. Leaving school at the age of eleven, he worked for eight years in his father's cabinetmaking workshop before being apprenticed to a local painter, Christopher Steele, with whom he served for two years, from 1755 to 1757, in Kendal, York, and Lancaster. He married a Kendal girl, Mary Abbot...

Charles Towne (1763-1840) A greyhound in a landscape Signed with initials and dated 'CT 1805' lower right Oil on panel Painting size 10 1/2 x 8 1/4 in Framed size 16 x 14 in Provena...

La obra no va firmada El estado de conservación de puede ver, es bastante bueno, solo aconsejaría una limpieza ya que está un poco sucia, pero por lo demas, muy aceptable Se presen...

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 ...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

Revelry in a Classical Landscape Italian School, early 18th century (circa 1700) oil painting on canvas, laid on board, unframed board: 20 x 36 inches provenan...

This exquisite 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

Saint Michael the Archangel expels the rebellious angels from paradise (probably a preparatory sketch) Roman school, 17th/18th century Oil on canvas 99 x 73 cm Framed 119 x 94 ...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

Carle Vanloo (Nice 1705 – Paris 1765) Perseus and Andromeda Oil on canvas. H. 081; W. 065. Alongside François Boucher (1703-1770) and Charles-Joseph Natoire (1700-1777), Carle Vanlo...

Firmado en la parte trasera, parece poner Sevilla Urtado (desconozco el artista) y también va titulada "Castillo de Cardona) Se presenta enmarcada la pintura con un marco del siglo ...

Artist/ School: 17th Century Dutch School Title: An Extensive River Landscape with Figures in the foreground Medium: oil painting on canvas, framed Pai...

Beautiful Dutch School painting dating from 17th century. Oil on wood panel measuring 10 3/8 x 14 7/16 inches. Unsigned. No inpainting or conservation. Depicted is a scene with a beautiful young woman singing...

This rather special Italian Old Master religious portrait oil painting is attributed to a follower of Giovanni Battista Salvi, or Sassoferrato as he is better known. Painted circa 17...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, wit...

Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the e...

Portrait of an Aristocratic English Gentleman circle of Thomas Hudson (British (1701-1779) oil on canvas, framed framed: 53.5 x 45 inches painting: 45 x 40 inches provenance: private...

Fighting Dogs French Provincial School, 18th century, unsigned oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canv...

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

Ciro Ferri (Rome, 1634 – Rome, 1689) Attributed to Annunciation (probably a preparatory sketch) Oil on canvas 61 x 41 cm - In frame 79 x 49 cm The work, certainly commission...

Portrait of a Lady English School, 18th century oil on canvas, unframed canvas : 31 x 25 inches provenance: private collection, UK condition: good and sound condition

This lovely British 18th century Old Master landscape oil painting is attributed to circle of Richard Wilson. Painted circa 1770 it is a Capriccio Tivoli landscape with figures by a ...

Portrait of a Gentleman with Periwig and Blue Cloak c.1695-1710 Attributed to Thomas Murray (1663–1734) This accomplished oil-on-canvas portrait, presented by Titan Fine Art, was al...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

17th-century German portrait of the wine merchant Caspar Roemerskirchen at the age of 26 in 1628, Franz Kessler (attr.) This highly decorative portrait depicts the 26-year-old Caspa...

Work on canvas Black wooden frame 37 x 45 x 3 cm

A very interesting set of five mid-20th-century Italian oils on copper. All five are classical landscape subjects and are signed Roger, though we don't know which artist with the n...

Portrait of Mary Hooper (née Davie) in a Blue Dress & Seated in a Parkland c. 1715–1725 Jonathan Richardson the Elder (1667–1745) This portrait, presented by Titan Fine Art, is of p...

Angelo Solimena (Canale di Serino 1629 - Barra, 1716) Multiplication of the Loaves and Fishes Oil on canvas 60 x 102 cm Framed 76 x 116 cm Work accompanied by an expert repo...

Artist: English School, early 1800's, circle of John Constable (British 1776-1837) Title: The Woodland Path Medium: oil on canvas, framed, unsigned Size: 12 x 22 inches Picture: 9 x 18 inches Provence: from a private collection in East Anglia...

The Madonna & Christ Child Italian, 17th century oil on wood panel, unframed board: 9.5 x 7.5 inches provenance: private collection, Paris condition: very good and sound condition fo...

Jacques Blanchard (Paris, 1600 – Paris, 1638) and workshop Thetis in Hephaestus' forge (Hephaestus gives Thetis the weapons he forged for Achilles) Oil on canvas applied to pan...

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

This simply superb British 19th century portrait oil painting is attributed to circle of John Constable. Painted circa 1820 it is a sumptuous half length portrait of a lady in a shor...

Jean-Baptiste Oudry (Paris, France, 1686 - Beauvais, France, 1755) Title: White duck Medium: Oil on canvas Dimensions: without frame 98 × 73 cm – with frame 109.5 x 84.3 x 6 cm Not s...

This exquisite early 19th-century English portrait of a gun dog or foxhound by Thomas Weaver is a masterpiece of sporting art that offers both historical...

17th-century Flemish school Still life with flowers Oil on panel 33 x 25 cm In frame 50 x 42 cm The painting depicts a wonderful still life of flowers, where numerous colour...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

Benvenuto Tisi, il Garofalo (Garofalo, Rovigo 1476 - Ferrara 1559) workshop/follower Madonna with Child and Saint Joseph Oil on canvas 125 x 90 cm - In frame 143 x 109 cm. I...

Florentine painter, 16th-17th century Saint John the Baptist Oil on canvas 67 x 56 cm - In frame 98 x 83 cm In bringing out the sculptural figure of this young Saint John the...

Follower of Dirck van Berghen (Dutch School, 17th Century) Pastoral Landscape with a Shepherdess and Livestock Oil on canvas, framed in a French Empire period gilt frame canvas dimensions: 18 x 22 inches framed dimensions: 22.5 x 26 inches This charming pastoral scene, rendered in oil on canvas, is attributed to a follower of the 17th-century Dutch painter Dirck van Berghen, who was known for his bucolic landscapes featuring cattle and rural life. The composition reflects the influence of van Berghen’s mentor, Adriaen van de Velde...

This superb large three quarter length British Old Master portrait in a landscape oil painting is attributed to circle of John Vanderbank the Younger. Painted circa 1738 the sitter is Mrs James Hoste of South Wootton and Sandringham, nee Hammond. She was the daughter of Anthony Hamond and Susan Walpole, daughter of Robert Walpole, and was sister to Robert, 1st Earl of Oxford. She married Major James Hoste of Sandringham, Norfolk, and they had two daughters. The sheen of her blue satin dress against her gold cloak is stunning. A really lovely 18th century portrait with excellent provenance. Inscribed with sitter details lower left. Provenance. By descent within the family of the sitter at West Acre High House, Norfolk; Cheffins, Cambridge, 'West Acre High House' sale, 24 November 2010, Lot 519; Wood Hall, Arkesden, Essex. Literature: 'Portraits in Norfolk Houses', Prince Duleep Singh, 1927, No. 36. Sitter's details on two labels verso. Condition. Oil on canvas, image size is 50 inches by 40 inches and in good condition. Frame. Housed in an ornate gilt frame, 58 inches by 48 inches framed and in good condition. John Vanderbank (1694-1739) was an English portraitist and book illustrator, who enjoyed a high reputation for a short while during the reign of King George...

This lovely British Old Master portrait oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1820 it is a seated half length portrait of a beautiful lady in a b...

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco de la época de la obra en madera policromada (el marco presenta faltas) Medidas obra: 84 x 65 cm. Medidas...

Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'...

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

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...

Francesco Albani (1578 - 1660) Copy from The Dance of the Cupids Oil on panel 94 x 118 cm in a fine gilded and carved wooden frame 101 x 123 We see a festive dance of cher...

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...

Italian artist, 19th century Still Life with Hunting Dogs indistinctly signed oil on canvas, unframed Canvas: 14.25 x 24 inches Provenance: private collection, UK Condition: very goo...

Early 20th Century Oil Painting Grand Canal at Dusk, Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondolas along Venice's iconic Grand Canal at Dusk by Richar...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

Pastoral Landscape Dutch Old Master, 18th century oil on canvas, unframed canvas: 12 x 10 inches provenance: private collection, UK condition: good a...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

Fishing at Dawn English artist after an earlier work (see inscription verso) signed oil painting on canvas, framed inscribed verso framed: 23 x 31 inches canvas: 18 x 26inches proven...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...