Art

Beggar Seated Warming His Hands at a Chafing Dish is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by ...

Artwork on canvas Empire style frame in plaster and gilded wood 49.7 x 58 x 5.5 cm

Old Beggar Woman with a Gourd is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs t...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

Signed Pencil Drawing by Andreas Geist, a German painter of animals and theatre sceneries. Andreas Geist was born as the son of the painter Joseph Gei...

John Bull jure qu'il est attaché au fils de Théodoros par un lien indissoluble. (John Bull vows that he is tied to the son of Theodorus by an indissoluble band.) Delteil catalog3657 state ii/ii (with letters). 9 5/8 x 8 1/4 (sheet 12 x 11 3/16). Series: Actualités, (News of the Day), plate 189. Published in Le Charivari...

Chiesa di S.Carlo ed Ambrogio al Corso is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except f...

English School early 19th century, Portrait of two children, Pencil and light heightenings of white and red gouache 29.5 x 23 cm In quite good condition : the pape is yellowed by time and there foxings and stains visible (please refer to the photographs) In a vintage frame (some minor damages) : 48.5 x 38 cm This charming drawing of children is typical of English portraiture as it had its heyday shortly before with Reynolds and Gainsborough. The codes required, for example, that the female sitter...

This European metal sculpture, most likely bronze or brass, is probably Anteros, God of requited love. The piece altogether is 18" in height; the figure itself 7.25". The bottom and...

Alain Foussier, born in France living in the Netherlands, perfects the mood and spirit of Spaniel dogs with his portrait photography. His Spaniel dog a...

Landscape is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs to a late edition of ...

A fine watercolor by Thomas Miles Richardson senior, (1784-1848). A view of a Swiss lake and Alps with the Matterhorn mountain. One of the fine En...

Ancient Roman Statue of Satyr, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Vincenzo Aloja in the 18th century. Signed on the plate on th...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

Les Chevaliers is an original print, realized in the second half of 17th Century by the French artist Sébastien Leclerc (1637-1714). Etching on pap...

Henri-Louis Dupray (1841-1909) Studies of military horsemen, two signed drawings Pencil on paper The first one figuring a partial study of two horsemen : 10.8 x 16.5 cm, bears a mo...

• Frontespizio - Civitates Orbis Terrarum From the series “Le città d'Europa” a Wonderful proof with sharp details and a very fine line, showing a Roman Antiquities. Signed on plat...

Théodore Géricault and Eugène Lami, 'Mazeppa' from the series 'Oeuvres de Lord Byron', lithograph, 1823, 2nd state of 3, Delteil 94. Rendered by Thé...

Jean-Henri Cless (1774-1812) Portrait of a young woman in a landscape signed "Cless fec" for fecit on the lower left Brown ink and brown ink wash on pencil Size of the sheet : 31.5 x 22 cm Size of the motive : 24.5 x 17 cm very simply framed under glass without actual frame 32 x 22.5 cm This pre...

CHILD - Oil on canvas cm.70x50, Tonino Manna, Italy 2002 Frame available on request from our workshop. in this wonderful painting we admire a girl in a white dress who takes care of ...

Martinus Kuytenbrouwer Amersfoort, The Netherlands 1821 – 1897 Paris, France Dutch Painter Along the River “La Meuse” Signature: Signed lower right Medium: Oil on canvas Dimensions...

La Vie de la Vierge is an original Etching realized by Jacques Callot in 1633. Frontispiece of the series of thirteen prints. P.a. of first edition. Dedicated to the Abbot Maugis, Chaplain of Maria de...

Artist: Saverio Manetti (Italian, 1723-1785) Title: "Eagle" (Plate V - 5) Portfolio: Storia Naturale Degli Uccelli (The Natural History of Birds) Year: 1767-1776 Medium: Original Hand-Colored Engraving on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: heirs of Francesco Mouck (Vols. I-III), Gaetano Cambiagi (Vol. IV), Giuseppe Vanni (Vol. V), Florence, Italy Sheet size: 16.75" x 14.5" Platemark size: 13.63" x 10.88" Condition: Some minor surface marks mainly in margins. In excellent condition with strong colors Rare Notes: Provenance: private collection - Haarlem, Netherlands. Engraved and hand-colored by Italian artists Lorenzo Lorenzi (Active: 1750-1780) and Violante Vanni (1732-1776). Latin and Italian texts by Saverio Manetti. Comes from Manetti's monumental 5 book volume "Storia Naturale Degli Uccelli (The Natural History of Birds)", (1767-1776), which consists of 600 hand-colored prints, miniature and life-size prints, made from engraved plates. Unidentified watermark in very center of sheet. Comes with its accompanying information sheet. Eagle is the common name for many large birds of prey of the family Accipitridae. Eagles belong to several groups of genera, some of which are closely related. Most of the 60 species of eagle are from Eurasia and Africa. Manetti's extraordinary "Storia Naturale Degli Uccelli (The Natural History of Birds)", 1767-1776 was commissioned by Maria Luisa, the Grand Duchess of Tuscany. It is a massive 5 book volume set...

Basilica di S.Paolo e Monestero de Monici Casinensi is a vintage offset print realized in the early 20th Century after Giuseppe Vasi. Good conditions. Giuseppe Vasi (Corleone,1710...

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

Antiquities of Herculaneum - Alphabet , from the series "Antiquities of Herculaneum", is an original hand watercolored etching on paper realized by Carlo Nolli artist in the 18th c...

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...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...

A sexy and nude curvaceous young Nymph/Bacchante makes amorous advances to a Herm - whose facial expression reflects her erotic touch. The Herm is stylized where his upper torso is c...

This is a hand-colored 18th century map of the Meissen region of Germany, entitled "Geographischer Entwurff Derer Aemmter Meissen als Creys-Procuratur-Schul-und Stiffts-Ammt benebst ...

Naples - Vincenzo Montella Italia 2007 - Oil on canvas cm. 60x100 Gold leaf gilded wooden frame cm. 85x125 The painting by V. Montella is a landscape representation of Naples, with t...

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...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

James Barenger the younger (1780-1831) ‘Lord Derby's foxhounds’ signed and dated 'J. Barenger. 1809-' (lower right) oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and artist who exhibited paintings of insects...

Print of Moses, after Franceso Barbieri called Guercino (1591-1666). This is an old master portrait print of a drawing of Moses standing with his wooden walking stick...

I apologize for the reflections in the glass of this watercolor. At any rate, it's a large scene of cattle grazing in a field, presumably in Holland, with windmills in the distance. ...

After Simon Johannes van Douw (Antwerp c. 1630 - c. 1677) The stop of a traveler on horseback near a post station Oil painting on canvas 45 x 55 cm In frame cm. 55 x 65 In this pleasant painting, depicting a knight parked near a post station, the Flemish tradition is based on a strong Italianizing sensitivity, especially by observing the setting and its peculiar brightness. The mixture of genres and the particular style of execution make it easy to trace the authorship back to a Nordic author but active in Rome, or strongly influenced by the style in vogue in the Eternal city, between the seventeenth and eighteenth centuries: we are referring, in in particular, to a follower of the Antwerp Simon Johannes van Douw. The chromatic elegance and refinement with which he outlines the figures are typical aspects of his painting. The scene takes place outside a cottage, probably a post office for travelers, where a modest family divides the tasks by assisting the knights. We see a young boy who hands water to the horse before he sets off again, the father is preparing to feed him with straw and the mother who instead takes care of the little son. The Italian reminiscences, evident in our painting, have been absorbed by many Northern European authors such as Nicolaes Berchem, Philips Wouwerman or Johannes Lingelbach, all inspired by the leader Pieter van Laer...

Louis Lesueur (1746-1803) A Fantasy Landscape with ancient ruins, 1789, signed and dated "L Lesueur 1789" in the bottom centre Pen and ink and ink wash on paper 14.8 x 22 cm In goo...

Convento dei PP.Ministri degli Infermi is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for some f...

Mannerism, derived from the Italian term "maneria," which simply means "style," was an artistic movement that emerged in the later years of the Italian High Renaissance, around 1520, and extended into the early 17th century. It is often referred to as the "stylish style" due to its emphasis on self-conscious artifice rather than realistic depiction. Historians debate whether Mannerism should be classified as a style, a movement, or a period. In contrast to the harmonious ideals embraced by renowned artists such as Raphael, Michelangelo, and Leonardo da Vinci, Mannerist painters took a step further and created compositions that were almost bizarre. They introduced fresh color schemes, elongated proportions, and exaggerated anatomy of figures, portraying them in convoluted and serpentine poses. These artists skillfully exhibited their techniques and abilities, aiming to evoke a sense of sophisticated elegance. Among the notable Mannerist painters are Jacopo da Pontormo, Bronzino, Lavinia Fontana...

Porta Pia Viminalis is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins...

This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one’s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer’s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter’s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance – in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d’excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660’s. Peter Lely, the son of a Dutch...

Everyone holds his fortune in his own hands, like a sculptor the raw material he will fashion into a figure. But it’s the same with that type of artistic activity as with all others:...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

Joseph-Auguste Rousselin French 1841 - 1916 Head Study Oil on board, signed with initials and signed verso Image size: 12 x 11 inches This head study provides an unbelievably moving portrait of an androgynous sitter. Employing incredible technique, the artist has achieved the highly finished porcelain skin, thoughtful eyes and pink lips of the sitter with incredible softness. The unfinished quality of the background make the composition of the work particularly satisfying to the modern eye. Loosely sketched dashes and brushy swoops outline the model's head. The mix of finished and more expressive elements reveals the artist's brilliant eye, technique and personality. Artistically, Rousselin does not seem to be influenced by the friendships that he forged with the Impressionists but rather he has remained rather faithful to the academic technique of William Bouguereau, whose studio he also used to frequent. This study is certainly comparable to the work by Bouguereau, specifically his graceful portraits of women. Bouguereau championed the traditional academic style and his methods were taught to him by a pupil of Ingres. Similar academic inspiration is apparent in this work, from the conscious posing of the subject to the evenly laid colours. Indeed, alike the work of Bouguereau this follows the same classical approach to composition, form and subject matter. The Artist Born in Paris in 1841, Rousselin grew up to be a French painter and art collector. From a young age he studied in the workshops of Charles Gleyre and Thomas Couture, here he met the young impressionist generation. His studio peers included Auguste Renoir, Alfred Sisley and Édouard Manet, with whom he forged strong bonds of friendship. It was at his invitation that his two friends Renoir and Sisley exhibited at the Salon of the Society of Friends of the Arts in Pau, a region where Rousselin had family ties. Manet invited him to his family home in Boulogne-sur-Mer where he had him pose in the summer of 1868 for 'Le Déjeuner dans l'Atelie'. Rousselin can be seen in the background of the painting as the man with the cigar, wearing a grey hat...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl 17th century, oval,bust-length . She has dark hair tied high and wearing a b...

Palazzo Marescotti gia Estense is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margi...

Fine drawing in pencil, oval format. Circle of Angelika Kauffmann. The subject is not clear. It is Amor with his arrows and perhaps Venus with a sp...

Elegant still life with calla lilies and amaryllis by an unknown artist. Completed in a classical style, two calla lilies and two amaryllis flowers sit in a vase with Chinese designs...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

Casino di Villa Lodovisi presso Porta Pinciana is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions ...

Palazzo Pio is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins with some foxing...

Woman in the garden. Romantic and full of light landscape with beautiful female figure by the Spanish artist Manuel García Blázquez. Oil on canvas. Dimensions: Unframed: (H) 89 x (W) 116 (D) 2 cm. / 35.04 x 45.67 x 0.79 in. Framed: (H) 109 x (W) 136 (D) 4 cm. / 42.91 x 53.54 x 1.57 in. Light is the protagonist in this landscape with female figure by Manuel García Blázquez; an intense and soft light that interacts with color, and the impressionist technique that defines the work of this painter. The beautiful silhouette of a woman dressed in white and the reflections of the water in the pond at the back of the garden give the scene a certain luminous dreaminess, which contrasts with the strength of the color of the flowers in the foreground. The background landscape, so timeless and lyrical, serves as the setting for a female portrait with classical reminiscences. The work is executed along the lines...

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...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Chiesa e Monastero dello Spirito Santo delle Canonichesse Lateranensi is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower mar...

Chiesa di S. Maria in Campitelli is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed mar...

Monastero e Chiesa di S.Giuseppe is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for som...