Art

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...

Together with his son Pietro Neri, Andrea Scacciati was active at the Medici court and is well known for his still lifes with flowers. His works display both Roman and northern influ...

In the foreground, we see two conquistadors and three natives accompanying them landing on the shore, presumably on a reconnaissance mission in an unfamiliar bay. Perhaps they are in...

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...

Italian master (17th century) - The flight into Egypt appears to St. Francis. 37.5 x 51.5 cm without frame, 71 x 83 cm with frame. Oil on canvas, in a carved wooden frame. Conditi...

This superb Italian Old Master religious portrait oil painting is attributed to circle of Bartolomeo Schedoni. Painted circa 1700 it is a half l...

La obra no va firmada Buen estado de conservación el de la pintura, solo comentar que la tela está reentelada Se presenta enmarcada la obra Medidas obra: 72 cm x 54 cm. Medidas m...

The Virgin Mary, oil on panel Italian School Large antique Italian School depiction of the Virgin Mary, oil on panel. Excellent quality and condition study of the Virgin facing lef...

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame. Condition report: Good state of conservation of the pictorial s...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

St. Gregory in Rome is a beautiful artwork realized by Jan Peter Verdussen in 1741. Ink and watercolour on brown paper. In very good codition. Dated on the lower margin. The origin...

Orpheus is an original artwork realized in the first decades of the XVII century and attributed to the Italian master Tommaso Salini. Oil painting on canvas. A golden wood frame is...

Circle of Carlo Labruzzi A view of Lake Nemi Oil on canvas Canvas Size 26 3/8 x 40 1/2 in Framed Size 35 x 49 in Carlo Labruzzi was an Italian painter, draftsman, and engraver, best...

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

The painting, large in size and with a notable decorative impact, comes from an important private collection, divided between Rome and Paris, and depicts a rural episode set in a lat...

Three Figures in a Landscape Continental School, late 18th century after the earlier painting by Murillo oil on canvas, framed Framed: 31.5 x 35 inches Canvas: 26 x 36.5 inches Prove...

Artist/ School: French School, 18th century Title: Mary and Jesus Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Provenance: private collection...

Floral Garland with Sacred Imagery Period: Likely 17th–18th century Medium: Oil on canvas Style: Flemish or Dutch Baroque Frame: Antique wooden frame This exquisite oil painting is a...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Red crayon on cream laid paper, 3 3/4 x 4 inches (95 x 102 mm) ; 3 3/4 x 3 1/8 inches (95 x 80 mm). Each with scattered early repairs done with non-archival tape on the verso; the sm...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

"Vaso Cinerario di Gran Mole. Le Teste dei Giovenchi mostrano di reggere it pesante Festone composto di Frutti Fiori Grans ed use. Il tuto Necefsario all Vita Umana. Il Restante degl...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

This exquisite Grand Manner work, presented by Titan Fine Art, is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully ...

This painting by Carlo Francesco Nuvolone, the great Lombard master of the mid-seventeenth century, is striking for its dazzling composition and the brilliant colors of Christ's tuni...

A fine antique bronze figural group of Bacchantes by Claude Michel (Clodion) ( 1738– 1814). The bronze depicts a pair of bacchantes, the female followers of Bacchus the Roman god of ...

Le Chat d'Angora is an etching realized in 1771 by ` (1723-1807). It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Arti...

This striking hand-colored botanical mezzotint and line engraving is entitled Malus domestica, Pomier, Apfelbaunt (Apple)". It is plate 704 in Johann Weinmann's monumental publicatio...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Aurora sive Tempus Matutinum; Der Wohl und Übel angewandte Morgen (Dawn or Morning Time; The Morning Used for Better or For Worse)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.57" x 16.38" Image size: 17.75" x 14" Condition: Soft handling creases, folds, and scattered faint areas of discoloration to sheet. Three tears skillfully repaired from verso. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Pietro Antoniani (Milan circa 1740-1805) A view of Paesteum with Grand Tourists in the foreground Oil on canvas Painting Size 13 x 19 1/2 in Framed Size 17 x 24 in Provenance Sale,...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Johann Kaspar HUBER is a Swiss painter.

John Ferneley Snr (1782-1860 Melton Mowbray) Sir Richard Sutton's foxhounds signed J. Ferneley lower right Oil on canvas Canvas Size 16 1/8 x 20 1/2 in Framed Size 21 x 25 in Proven...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

This superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, ...

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

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...

Oil on Canvas. Venetian school of the late 17th-early 18th century. Within a large classical landscape with rich vegetation and rosy atmospheres is a small handful of soldiers: some,...

Oil on Canvas. A portrait of a gentleman is accompanied by the inscription in the upper left corner "Paulus Castellanus Sanator." The word Castellanus could be the very common surna...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

Flemish master active in Italy (17th century) - Sermon of St. John the Baptist in a landscape. 58 x 73.5 cm. Old oil painting on canvas, without frame. Condition report: Lined can...

They may be damaged and battered, but real historic objects will always give you a sense of awe. Can you sense it, looking at this ancient carved granite which depicts, as it is call...

Ancient Roman Frescoes from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy in the 18th Century. Signed on the plate. Good conditi...

Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period ...

Outstanding still life Salami, Bread, Biscuits Glass and Glass Bottles, realized with the technique of Oil on Canvas and surrounded by a modern wooden frame. With its soft tones and...

This 17th century hand-colored engraving of a lemon entitled "Limon Lavrae", plate 219 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aureorum Cultura Etu...

The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Par...

The Resurrection of Christ Follower of Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576)   Venetian school of the late 16th/early 17th century Oil on canvas 108 x 78 cm. - Framed 129 x 99 cm. This jewel of the Venetian school, a work executed between the 16th and 17th centuries by a Venetian artist, illustrates the episode of the Resurrection of Christ: as reported in the Gospel of Matthew (Matthew 28:1-7) the event is accompanied by an explosion of light and glow, with the figure of Christ rising into the sky. Christ's face, serene and victorious, looks up towards the Light and the Infinite, in contrast to his majestic figure, here constructed with the appearance of a classical sculpture, contrasted by an intensely luminous background. The Risen One firmly holds in His hand the banner (white with a red cross) of the Resurrection, also known as the flag of St. George, which iconographically represents His victory over death, while raising His right hand in a blessing act. With his feet he crushes a snake and a skull, a sign of Christ's triumph over sin and death. The painting belongs to the Venetian school and presents clear reminiscences with the works of Titian Vecellio...

Portrait of a Gentleman in Armour beside a Table with Helmut c.1685 Follower or circle of Johann Kerseboom (d.1708) This exquisite Grand Manner work, presented by Titan Fine Art, wa...

This painting by John Crome depicting a windmill is characterized by his early 19th-century English landscape style, often associated with the Norwich School. Crome was known for his detailed, atmospheric landscapes that captured rural life and the natural world, often with a focus on the Norfolk countryside. In this painting, the windmill is the central feature, standing next to another tall tree, against a broad, open sky. The structure itself is depicted in muted tones of ochre browns and grays, with the sails or blades turning in a gentle breeze. Crome’s attention to natural light is evident, with soft shading and a focus on how the windmill’s form interacts with the surrounding landscape. The color palette features earthy greens, browns, and soft blues, creating a harmonious and serene atmosphere. Crome’s brushwork is precise yet expressive, capturing the texture of the landscape and the weather conditions, whether it be a bright, sunny day or a more moody, overcast sky. John Crome (22 December 1768 – 22 April 1821), once known as Old Crome to distinguish him from his artist son John Berney Crome...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

Italian painter (17th-18th century) - Still life with meat, turkey and game. 70 x 88 cm without frame, 89 x 107 cm with frame. Antique oil painting on canvas, in a carved, gilded a...

Richard Roper (British, c. 1730-c. 1775) Grey stallion held by groom in the Duke of Grosvenor’s colours Oil on canvas Old chalk inscription '22 Mar 74' verso Property of a gentleman...

Georgian or early Victorian Marine Oil on Panel of busy shipping scene with figures on Harbour, possibly the Isle of Wight A rare gem of a painting, a Georgian era oil painting sho...

Oil on canvase realized by Giovanni Francesco Romanelli, so called "Il Viterbese" (1610-1662). It depicts the famous abduction of Persephone, daughter of Zeus and Demeter, by Hades....

This fine oil on canvas, attributable to a late 17th-century Venetian artist, is a coeval copy of the famous portrait by Pieter Paul Rubens, documented in the collections of Cosimo I...