Old Masters Paintings

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl (unsigned)17th century,Oil painting on canvas oval,bust-length . She has dar...

Giovanni Segala (Venice 1663 - Murano 1720) Susanna and the Elders oil on canvas (155 x 127 cm - with frame 174 x 146 cm) This delightful, large-scale painting illustrates th...

Allegorical Scene - Giovanni Faliero Italia 2009 - Oil on canvas cm. 90x110. This beautiful oil on canvas is the personal reinterpretation of the magnificent painting “Bacchant playing the Cymbals” by Jean-Simon Berthélemy, a French painter of the 18th century. Here we admire a mythological scene showing a naked bacchant playing cymbals next to a wooded stream, with a small sleeping faun...

Work on wood Plaster and gilded wood frame 47 x 40.5 x 6 cm

"The Working Landscape" Italian School, 17th century oil painting on canvas, framed canvas: 42.5cm x 60cm framed: 50.5cm x 68cm Fine quality Italian Old Master oil painting on can...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery)

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. -  In frame 74 x 58 cm.) The work depicts Saint John...

Seventeenth Century Old Master Biblical themed Oil Painting on Panel of Joseph recounting his Dream. A Follower of Rembrandt Harmensz Van Rijn 1606 - 1669. This painting follows a ...

Adriaen de Gryef (Leiden 1657 - Brussels 1722) Signed ‘A Gryeff f’(ecit) - centre left Peasant in the courtyard with still life of animals and fruit Oil on canvas Dimensions (cm): ...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

CHILD - Pastel on paper cm.51x41 signed lower right by Alfonso Grassi, Italy. Wooden frame with passeportout cm.94x73

School of Antonio Allegri, known as Correggio (Correggio c. 1489 - 1534) Attributable to Pomponio Allegri (Correggio, 1522 - Parma, 1593) Madonna and Child, Two Angels and John the B...

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

John Thomas Serres (1759-1825) Fisherfolk unloading the days catch Oil on canvas Canvas Size - 17 x 25 in Framed Size - 22 x 30 in John Thomas Serres, a luminary in the realm of mar...

'Africa' 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 co...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

This fine late 17th-century Flemish portrait depicts a distinguished gentleman dressed in the elaborate fashions of the 1670s. He wears a long, collarless coat known as a justaucorps...

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...

This 18th-century painting, attributed to Christian Wilhelm Ernst Dietrich (1712–1774), depicts a rustic inn interior, a subject frequently explored by Dutch and German genre painter...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

European School, 19th century View of boats on water and buildings oil on board, framed framed: 16 x 22 inches board: 11.5 x 17.5 inches private collecti...

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...

The Grape Harvest Flemish/ Dutch School, 17th century oil on wood panel panel: 13 x 16 inches provenance: private collection, Belgium condition: very good and sound condition

Giovani Ghisolfi (Milan 1623-1683), attributed / workshop View of classical architectural ruins with Pythagoras pretending to return from Hades Oil on canvas, cm. 70 x 84 In frame c...

Otto Vautier is a renowned Swiss painter, born in 1863 in Düsseldorf. He was influenced by a family of artists and developed his style during his training in Munich and Paris. Vautie...

Pastel on paper stretched on canvas Each 23 ¼ x 19 ¾ inches; 59 x 50 cm Framed dimensions, each: 83 x 67.5 cm Both signed ‘F. Cotes Px 1751’ Collections: Captain Penton; Christie’...

Roman school of the 17th/18th century The nymph Daphne with Cupid Oil on canvas 49 x 57 cm Framed 69 x 75 cm This extremely pleasing and decorative painting depicts a nymph ...

Portrait of Arab Man in Turban French artist, 18th century oil on canvas, framed Framed: 21 x 16.5 inches Canvas : 18.5 x 14 inches Provenance: private collection, France Condition: ...

Antonio Calza (Verona, 1653 – Verona 1725) Battle between Christian and Turkish cavalry Oil on canvas 47 x 85 cm In frame 66 x 105 cm Here we see a fierce battle between Ch...

This charming 17th century Old Master portrait oil painting is attributed to the circle of Swedish born Michael Dahl who lived and work in England for most of his life. Painted circa...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

Portrait of two young girls in a wooded landscape, standing full-length, one attaching a red collar on a seated white whippet and the other holding her pet black and white rabbit. Ci...

Oil on canvas 20 x 37 ¼ inches; 50.8 x 94.6 cm Framed dimensions: 67.5 x 110.5 cm Not signed c.1744-1745 Collections: Possibly John Charles Middleton (1757-1793); Revd Frederick M...

Giulio Carpioni (Venice, 1613 - Vicenza, 1678), Attributable to Bacchanale Oil on canvas 98 x 132 cm. - In frame 120 x 154 cm. This high-quality, beautifully preserved painti...

Jan Porcellis (Ghent 1584 c. - Zoeterwoude-Dorp 1632) attributable Stormy Seascape with Ships Oil on canvas 73 x 96 cm In frame 91 x 115 cm Dorotheum Vienna, Old Master Paint...

Francesco GUARDI (1712-1793) Portrait of a Lady Oil on copper 5 1/8 x 4 3/8 in 13 x 11 cm Unsigned Provenance Private collection, France We are pleased to present an exceptional...

A finely painted picture, possibly of the penitent Mary Magdalene, painted in oil on to a copper plate and dating to c1750. Condition Two old touch ins, tiny chip to the forehead...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Flemish painter of the 17th/18th century Portrait of Augustus, first Roman emperor Oil on canvas 61 x 49 cm Framed 77.5 x 65 cm The portrait depicts Augustus, founder and fi...

This stunning French 17th century Old Master oil painting is by Baroque artist Laurent de la Hyre. It was painted circa 1645 and has excellent prove...

This lovely 18th century Old Master portrait oil painting is attributed to the circle of noted portrait artist Enoch Seeman. Seeman came from Poland to England as a youngster with hi...

German School, early 20th century oil on canvas, framed framed: 33 x 27.5 inches canvas: 30 x 25 inches private collection, UK the painting is in overall very ...

Portrait of an Architect at His Desk, 1798 Oil on canvas, relined. Signed “C A Lorentzen 1798.” The composition depicts an architect seated at his desk, surrounded by drawings and pa...

Provenance: Fernandez Jimenez, Spain; part a family collection for over 80 years. Prints transported to the New World for use in missionary work and religious instruction often serv...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

This superb Old Master 18th century figurative landscape oil painting is by noted French born artist Philip James Loutherbourg. who settled in England in 1771. The painting has good ...

This stunning British Old Master exhibited pastoral oil on panel is by noted artist James Ward. Painted circa 1815 with superb provenance, it was e...

Provenance: Private Collection, Argentina; there acquired by Mr. and Mrs. Ernest T. Harper, New York, by 1960; by descent to: Mr. and Mrs. Alan Harper, New York, until 2024. This extraordinary mirrored frame is an exuberant and nearly perfectly preserved example of Andean 18th-century decorative art. Pierced mirrored rosettes surrounding floral motifs are set against mirrored surrounds along a broad frieze bordered within and without by elaborate raised moldings, inlaid by small, shaped mirrors. Repeating ornamental motifs reflecting both Spanish and indigenous designs surround both the inside panel and the exterior perimeter, the four corners of which are punctuated by mirrored rosettes. Glass mirrors were unknown to the indigenous population of the Americas prior to the arrival of Europeans (obsidian mirrors...

Thomas Wyck or Wijck (Bewerwyck 1616- Haarlem 1677) Signed lower left: TWyck (under the floating barrel) Mediterranean coastal view ca. 1660 Oil on canvas, 43 x 52 cm in frame ...

This superb British 18th century Old Master oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning lake landscape with a r...

Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Painting and Drawing Oil on canvas 86 x 112 cm In original lacquered frames 122 x 95 cm. Work accompanied...

Richard Bankes Harraden (1778-1862) Italian landscape with Monte Socrate (after Jan Both) Signed and dated 1823 on the reverse Oil on canvas Canvas size ...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

Herman Saftleven the Elder (Rotterdam 1609 - Utrecht 1685) workshop Winter Landscape with the City of Utrecht Oil on canvas 81 x 65 cm. - framed 105 x 91 cm. The painting depicts a...

This tender mid-18th-century Sevillian oil painting depicts the Virgin Mary as La Divina Pastora, the Divine Shepherdess. Attired in a straw hat, decorated with flora, she rests in...

La obra no va firmada, es de autor anónimo Se presenta enmarcada la pintura El estado de la obra se puede ver, es aceptable, pero con algunas restauraciones antiguas y la tela está...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...