Art

Girl with kitten - Giulio Di Sotto Italia 2008 - Oil on canvas cm. 60x50 Frame available on request from our workshop. This painting is Giulio Di Sotto’s personal reinterpretation of the 19th century French painter Jules Frédéric Ballavoine...

"Laguna Vista" is an beautiful hand pulled serigraph created from the oil painted on location in Laguna Beach, California by Maria Bertran. This Contemporary Impressionist painting c...

Classical Dutch Winter Scene signed, 20th century oil on canvas, framed canvas: 22.5 x 30 inches framed: 24 x 36 inches provenance: private collecti...

An incredibly atmospheric oil painting of two figures sitting chatting by a woodland stream . A rare work by this master of early 19th century English painting. A very handsome piece...

The Battlefield of Waterloo English School, 19th century original oil painting on canvas, framed canvas: 12 x 15.5 inches framed: 17.5 x 20.5 inches condition: overall very good and presentable, some former restoration and signs of retouching visible. provenance: from a private collection A very rare and historically important early painting, depicting the Waterloo battle...

Country scene - Oil on canvas cm.80x120, Giovanni Santaniello, Italy 2002 Gold gilded wooden frame available on request The painting by Giovanni Santaniello depicts a scene of return...

Harbor Scene Circle of Claude Joseph Vernet (French, 1714-1789) oil painting on canvas, framed in antique gilt frame framed: 20.5 x 25.5 canvas: 19 x 23.5 inches condition: very good...

Sunlit French Landscape French School, indistinctly signed inscribed verso oil on canvas, framed framed: 17 x 20 inches canvas: 11 x 14 inches Provenance: Private collection, France...

Andrée KARPELES Paris 1885 - Cannes 1956 View of a mountain in Sonarmag, Kashmir region, Himalayan Range About 1910 Oil on canvas Titled “Sonarmag” on the back and numbered “49” ...

French School of the 18th Century Portrait of a gentleman Pastel on paper 25 x 18 cm Framed : 49 x 32 cm The mounting of this work is marked "Attribué à Saint Aubin", which means t...

Heracles in Combat With Centaur from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen after Camillus Paderni in the 18th C...

Commodo - Maximilian Ciccone - Italia - Oil on canvas, portrait of Roman Emperor Commodo.Mis. cm. 210x120-

Oil on canvas. "Sunshine Bliss: The Aroma of Summer Watermelon" In this painting, a vivid and joyful spectacle unfolds before us, as if a sunbeam has penetrated directly onto the c...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 24.5 x 18.5 inches Beautifully decorative, mid 20th century French or...

JOHANNES JANSSON (1588 - 1664) PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2 A nice example of one of the earliest maps of Peru. From the ...

Swans Startled by Dog Flemish Old Master, 18th century unsigned (as is typical of the period) oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches proven...

Boris Buchet (French, 1917 – 1999) Grapes, apples, tea cup and a tea pot Oil on canvas Signed and dated ‘B. Buchet.60’ (lower right) 13 x 16.1/4 in. (33 x 41 cm.)

Title: Original Oil Painting of Blue Vase, Brown Bowl, and Eggs on a Table Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 14 (height)...

Whistlers Mother by Anonymous Artist Original Oil on Canvas 1924 Nicely executed painting after James McNeil Whistler of his mother by an anonymous artist (American, 19th-20th C.) I...

Church of San Pietro In Banchi, Italy - 1908 Original Etching Original 1908 etching of the church of San Pietro Banchi in Genoa, Italy by George Walter Chandler (American, 1866-1928...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

This is an original work by Andre Kohn. Growing up near the Caspian Sea, Kohn's received a formal art education from the University of Moscow where he studied with members of the la...

This post-impressionist painting is signed, titled and dated 1955 by the artist, but the signature is difficult to decipher. It is oil on masonite board and is titled “Les Coquelico...

This stunning Italian 17th century Old Master religious oil painting is by Baroque artist Giuseppe Bartolomeo Chari. Painted circa 1684 it is a large and vibrant oil painting of the Madonna and child. To their left is Saint Catherine and to their right four putti or cherubs look upon a sleeping Jesus. The detail in all the figures faces and hair and the colouring is just superb, especially the Madonna's sumptuous blue robe. A really fabulous 17th century religious work with previous full attribution and excellent provenance which was once attributed to Carlo Maratta (1625-1713). Provenance. With Vangelisti, Lucca, Italy, 1966, from whom acquired by the family of the previous owner, and thence by descent. Red seal stamp verso Christies April 15th 1912 Christies March 23 1956 Condition. Oil on Canvas. Image size 44 x 54 inches unframed and in good condition. Frame. Housed in an original Carlo Maratta frame, 62 inches by 52 inches framed and in good condition. Giuseppe Bartolomeo Chiari (1654-1727), also known simply as Giuseppe Chiari, was an Italian painter of the late-Baroque period, active mostly in Rome. Born in Rome, he was one of the main assistants, along with Giuseppe Passeri and Andrea Procaccini, in the studio of an elder Carlo Maratta. His father had opposed the career, but his mother, on the recommendation of a painter named Carlo Antonio Gagliani. By the age of 22, he had frescoed the lateral lunettes (Birth of Virgin and Adoration of Magi...

Here for your consideration is a very finely executed watercolor by the New England artist, John Cuthbert Hare. Condition is excellent. Signed by the artist lower right. Circa 1960. Professionally matted. Overall mat size is 16 by 20 inches. Framed in custom two inch wide white frame. Overall framed measurements are 19.5 by 23.5 inches. Provenance: Massachusetts estate. New England painter John Cuthbert Hare was born in Brooklyn, New York in 1908 and studied commercial art at the Pratt Institute in New York City and later at the Art Students League also in New York City. He also studied at the Grand Central School of Art in New York followed by employment with the Hearst Newspaper Corporation. For a number of years after his marriage in 1933, Hare and his wife traveled throughout the United States and Europe. Hare was a member of the Provincetown Art Colony, Cape Cod, Massachusetts and was to become known as the "Dean of Cape Cod Artists...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Outstanding English late 18th / early 19th century marine scene by one of Britain's best known and sought after painters. William (or Wiliam) Anderson (1757 – 27 May 1837) was a Scottish artist specializing in maritime and patriotic themes. He was well-regarded for his detailed and accurate portraits of ships under sail, exhibiting his works annually in London between 1787 and 1811 and then occasionally until 1834. Anderson influenced other artists, notably John Ward and others of the Hull school. Anderson's early life is obscure, but he is known to have trained as a shipwright before moving to London to become a maritime painter when he was about 30. His training served him well as a painter, providing "a practical nautical knowledge" of his subjects. He earned a reputation for "accuracy and refinement of detail" and was admired for his bright, clear colours. He worked in both oils and watercolours. He based his style on that of well-known Dutch maritime...

This is a second state impression from three states.

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 63x55 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Provencal Landscape by Louis Bellon (French 1908-1998) signed From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed measurements: 8 x ...

This exquisite oil on panel portrait, depicts a young lady wearing the most elaborate and costly items of the period - the Dutch coif or coronet of sheer lawn with lace, the lavishly...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Heliogravure on cream laid paper, 3 1/4 x 4 1/4 inches (80 x118 mm), thread margins. In good condition with a soft vertical crease and minor uniform toning. Printed early 19th centur...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

Monte Carlo Casino Tony Minartz (French, 1873 - 1994) watercolour on artist paper painting : 16.5 x 12.75 inches Provenance: private collection in the South of France, Condition: ...

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

Title: Abstract Still Life with Pink and Orange Vases - Contemporary Oil Painting Artist: Roland Pichard Signed: Bottom right Medium: Oil on oi...

Springtime: Almond Tree in Bloom (Printemps: Amandier en Fleur) Raymond Thibesart (France, 1874-1968) Oil on canvas, circa 1920s 19 x 25 1/2 (22 3/4 x 28 1/2 framed) inches Raymond ...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Fighting Dogs French Provincial School, 18th century oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canvas : 19 x ...

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...

Immersed in the serenity of nature, I crafted an intimate scene, awash with the rich tones of oil paint. My brushstrokes breathe life into a dance of blossoms and leaves, enveloping ...

Luminous early 20th Century seascape of Capri on Amalfi Coast by Albert Wenk (German, 1863-1934), 1913. Signed and dated lower left corner. Cond...

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...

Gaëtan Dumas. French ( b.1879 - d.1950 ). Une Trace De Plaisir Ou De Regret. (A Trace Of Pleasure Or Regret). Oil On Canvas. Signed Upper Right. Image size 13.2 inches x 10 inches ( ...

"The painting "Bouquet. Rainy day" was painted in my studio." said Anna Shesterikova about this work. "On that June day, it was raining heavily and I could not go outside. A bouquet ...

A beautiful oil painting on canvas by the French artist Georges Gerbier, depicting a tremendously vivid and alive street scene from Paris in the 20th Century with a view of "Palais G...

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...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing w...

Moulin Rouge. La Goulue and Valentin le Désossé  is a modern artwork realized in the mid-20th century. Mixed colored lithograph after H. de Toulouse-Lautrec. Original title: Moulin...

Ignacio Gil Sala, was a painter, bohemian character, adventurous and intrepid traveler who knew how to capture his eyes to that world with his painting. After starting his artistic ...

La obra no va firmada La obra se presenta enmarcada con un marco de la época de la pintura (el marco presenta alguna leve falta) Medidas de la obra: 59 cm. de altura x 48 cm. de an...

Femme au Plateu - Le Petit Déjeuner (Madame Baron et Mademoiselle Popo) is a color lithograph realized by Henri de Toulouse Lautrec in 1896.  cm. 45,5 x 58, matted. Monogrammed in ...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

Artist: Unsigned (Mid 20th Century) Scottish School Title: "Sunset Seascape" Medium: oil on board Condition: Very good Size: 26cm x 12cm inc frame Comment: A beautiful little Scott...

French Landscape Impressionistic Riverscape Painting by Modern French Artist, Georges Charles Robin (1903-2003). View of the River Seine, France, during the snow melt. Oil on Canvas, Signed on the lower right (faintly). Presented in an authentic period frame with canvas slip. Art measures 29 x 23 inches Frame measures 36 x 30 inches (approx.) Born in Paris in 1903, Georges Charles Robin was a student of Paul Michel Dupuy...

A beautiful 18th century Dutch Old Master oil on panel depicting mountain goats in a landscape at sunset. Excellent quality work in very good original condition. The reverse of the ...