Art

Artist: Francesco Bartolozzi (Italian, 1727-1815) Title: "Four Muses" & "Father and Two Daughters" Portfolio: Rudiments of Drawing *Issued unsigned, though both are signed by Bartolo...

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

The Close of Day English artist, second half 18th century circle of Thomas Gainsborough (British 1727-1788) oil on canvas, unframed canvas: 24.5 x 29 inches provenance: private colle...

3997 Hudson River school landscape set in a period frame Image size 12x23"

Old Dutch Interior Child and a Man with Chickens and Delft Tiles and Hearth An oil on ceramic tile of a early Dutch scene with a child and grandfather in the kitchen with a hearth a...

This is a rare, original first edition hand-colored engraving of Water Betony Moths and Peacock Butterflies, which is plate 8 from Moses Harris's publication "The Aurelian: or Natura...

This beautiful French impressionist painting on wood panel is a lake or river scene most likely in the south of France. The dappled reflections in the water are pure impressionist in...

Rumsey’s specialties included equestrian sculptures – portraits of polo players and prize horses, as well as of cowboys, cattle and horses as metaphors. He worked principally in bron...

Oil on canvas, signed and dated '1724' bottom right Image size: 48 x 36 inches (121 x 91 cm) 19th Century hand carved gilt frame This rediscovered painting is a splendid example of ...

From the estate of the Artist Charles Cary Rumsey The Artist, Charles Rumsey, was a child prodigy sent to Paris as a young boy to study sculpture. He later was a world class sports...

Polo Pony and Rider Harrison Tweed . Charles Rumsey was an 8 goal polo player with Meadowbrook Polo Club on Long Island NY. He was an avid sportsman, equestrian and artist. His ab...

The 1917 original advertising poster for "Les On Dit" stands as a testament to the vibrant press culture of its time. This satirical publication, with its bold and compelling poster,...

English Fox Hunting Scene English School, 18th century oil painting on metal, framed painting size: 15.75 x 19.75 inches framed: 22 x 26 inches condition: very good and presentable p...

This image was in the personal collection of the artist. The Wheeler-Beecher House, sometimes referred to as the Hoadley House, is located on Amity Road in Bethany, CT. Built at the ...

Charles Rumsey was a child prodigy sent to Paris to train in sculpting at age 12. He was not only a prodigy sculptor but an avid horseman and sportsman...

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

Henri Ottmann (1877-1927) A Still life, signed lower right Oil on canvas 41 x 51 cm Framed : 53.5 x 63.5 cm Another fine example of Henry Ottmann's original art, this still life ...

Veduta del Romano Camipidpglio con scalinata che va alla chisea d’Araceli (The Capitol and the Steps of S. Maria in Aracoeli) Etching, 1775 Watermark: Double Circle Fleur de Lys A li...

Signed impressionist gouache on paper figures in landscape circa 1910 by French painter Eugene Galien-Laloue. The piece depicts a street scene at the Quai de la Tournelle...

Follower of FRANCESCO MAZZOLA, known as IL PARMIGIANINO (Parma, 1503 - Casalmaggiore, 1540) Cupid Carving His Bow (as the triumph of love and desire over reason and knowledge) Oil o...

Clara Deike (American, 1881-1964) Hillside and Stream, 1916 Gouache on paper Signed and dated lower right 22 x 18 inches 25.5 x 21.5 inches, framed A graduate of the Cleveland Schoo...

English painter (18th century) - Horses at the river. 53 x 70 cm without frame, 67 x 86 cm with frame. Antique oil painting on wood, in a carved and gilded wooden frame. Condition...

‘La Couronne de Marguerite’ by Édouard-Louis-Lucien Cabane (1857-1942). The painting – which depicts a young French beauty wearing a crown of daisies – is signed by the artist and ...

‘St. James’ Day’ by Richard Morton Paye (1750-1820). This very large and important 18th century oil on canvas depicts a diverse crowd of Londoners at an oyster stand on a summer’s ev...

Jerome Myers (1867-1940), Morning on the East Side, c. 1910, colored etching, signed in pencil lower right and annotated “imp.”; numbered and titled (twice) lower left. In very good ...

Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...

Signed and dated Barbizon School landscape oil on panel by French painter Henri Joseph Harpignies. The work depicts the trees lining the banks of the River Loing at Saint Prive in no...

Francis Sartorius British, (1734-1804) Bay Hunter & Groom Oil on canvas, signed Image size: 24.25 inches x 29.25 inches Size including frame: 32 inches x 37 inches A wonderful spor...

Portrait The Honourable Mrs Elizabeth Tufton (Wilbraham), circa 1710 Sir Godfrey Kneller (1646-1723) Large circa 1710 portrait of The Honourable Mrs E...

Work on canvas

ENOCH SEEMAN (circle of) PORTRAIT OF SIR FRANCIS SEYMOUR AS A BOY A very fine 18th century portrait of Sir Francis Seymour as a boy,oil on canvas housed in a gilt frame, circle of Enoch Seeman The size of the painting is 49 x 39.5cm (19¼ x 15½ in.) whilst overall the size is 65 cm x 56 cm The painting is in very good condition, the Canvas has been relined, and recently cleaned. Provenance: Anonymous sale, Christie's, 19 January 1945, lot 34 Anonymous sale, Crewkerne, Somerset, 24 April 2009, lot 1947 SIR FRANCIS SEYMOUR Francis Seymour, 1st Baron Seymour of Trowbridge (c. 1590 – 12 July 1664), of Marlborough Castle and Savernake Park in Wiltshire, was an English politician who sat in the House of Commons at various times between 1621 and 1641 when he was raised to the peerage as Baron Seymour of Trowbridge. He supported the Royalist cause during the English Civil War. In June 1611 he was accused of abetting the escape of his brother William Seymour and his wife Arabella Stuart, but protested his innocence. He was knighted by King James I at Royston on 23 October 1613. In 1612 was settled on him by his grandfather the manor of "Puriton with Downend" in Somerset, formerly one of the many possessions of his great-grandfather the 1st Duke of Somerset. In June 1642, Seymour signed the declaration that the king had no intention of war. He followed the King to York, offering to raise twenty horse in his cause, and Parliament accordingly declared him a delinquent. In autumn 1642 he went with his brother, the Marquis of Hertford, into the Westcountry to organise the royalist forces and suppress the parliamentary militia. He crossed the Bristol Channel...

Oil on canvas sold with frame Total size with frame 52x62 cm Gustave François BARRAUD is an artist born in Switzerland in 1883 and died in 19...

S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura) Etching, 1748 From...

John Marin New York from the Ferry, 1914 Signed and dated lower right Watercolor and graphite on paper 11 x 12 3/4 inches Provenance: An American Place, New York Kennedy Galleries, Inc., New York Christie's, New York, March 16, 1990, Lot 278 Private Collection (acquired from the above) Sotheby's New York, American Paintings, Drawings, & Sculpture, October 2, 2014, Lot 10 A major figure in early twentieth-century modernism, John Marin captured the colliding energies of the American urban scene and the vibrant contrasts of natural elements in the coastal landscape of Maine and other countryside locales. As one of the premier watercolorists of his era, Marin developed a light, spontaneous style ideally suited to conveying the freshness and flux of city and country experience -- his watercolors are often considered to match in strength those created by Winslow Homer in previous century. At the same time, Marin's sensitivity to mass, form, color, and line and their dynamic interchanges provided a precedent for the Abstract Expressionist movement of the late 1950s. Marin was born in Rutherford, New Jersey, to a family of European descent. After studying mechanical drawing and mathematics for half a year at the Stevens Institute of Technology in New York, Marin worked as a draftsman for several architects. It was not until he was almost thirty years old that he began to study art. He enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901, and at the Art Students League in New York from 1901 to 1903, where his teachers were William Merritt Chase and Frank Vincent Dumond. While Marin was attending the League, the radical ideas of Arthur Wesley Dow were being disseminated and had an impact on the direction Marin would soon take in his art. Marin left for Europe in 1905. The next five years, which he spent abroad, were of tremendous importance to his career. He became a significant figure in the expatriate community in Paris, frequenting the Dôme, a café that served as a meeting place for artists and writers. While in Europe, Marin visited the Louvre and the Rijksmuseum in Amsterdam and, despite his claims that he had been indifferent to the Paris art world, he undoubtedly became aware of the art of Paul Cézanne and Henri Matisse. The works Marin created in Europe most strongly reflect the influence of James McNeill Whistler, especially the pastels he rendered in Venice. In the summer of 1909, Marin met Alfred Stieglitz in Paris. In February of the next year, Marin's work was shown along with that of Alfred Maurer at Stieglitz's gallery, 291. After returning to America in the following year, Marin became one of the most consistent members of Stieglitz's inner circle, showing at all three of his galleries -- 291, The Intimate Gallery, and An American Place. After 1910, Marin developed the routine that he would follow for the rest of his life, creating paintings, drawings, and prints in New York City and surrounding areas during the winter, and in the summer, traveling to the country, where he focused on the particular characteristics of the regions that he visited. He worked mainly in watercolor until 1928, when he began also to use oil. Marin never became purely abstract. He formulated a unique style melding influences of the art of the French Fauves, Cézanne, Matisse, and the French Cubists with a personal style of luminescent colors, agile brushwork, and a simultaneously delicate and strong handling. In city views, he used broken lines, a light touch, fluid color, and rhythmic compositions to convey what he described as the "great forces at work." He expressed the warring of the great and the small through relationships between masses. As he said, he sought to express the "pull forces" of the modern urban scene. Often portraying the new tall buildings of New York seen...

The Military Encampment Circle of Carel van Falens (1683-1733, Flemish) oil on canvas, unframed canvas: 8 x 10.5 inches provenance: private collection, UK condition: very good and so...

The events depicted in the painting take place possibly somewhere in the Middle East or North Africa. Painting takes us to the times of great explorations and sea voyages. In those days, the knowledge of something new and unknown was the cause of numerous discoveries and adventure. In the foreground we see the harsh conquistadors, who presumably play the role of guarding the trade caravan here, the figures depicted on the canvas are fussing and busy loading things onto camels. The buildings and towers of the coastal city are visible in the distance. Atmospheric mood is added by a beautiful sunset over the sea bay...

French School - 18th century Paris, Louis XV-Transition period Portrait of a man seen from three quarters Mid-18th century Sanguine 40 x 29 cm 59 x 50 cm framed Superb Transition pe...

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Fra...

Albert LEBOURG (1849-1928) Pont du Château, 1918 Oil on panel Size : 33 x 42 cm Signed and dated 1918 lower left. Origin : - Galerie Tuffier, Les Andelys, - Private collection, Pa...

Portrait Of The Artists Daughter "Margaret Gainsborough", 18th Century Circle of THOMAS GAINSBOROUGH (1727–1788) Large 18th Century portrait of Margaret, daughter of Thomas Gainsb...

The painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...

Portrait of an Aristocratic Gentleman British artist, first half 18th century oil on canvas, unframed canvas: 50 x 40 inches provenance: private collection, Dorset, England condition...

Olio su tela. Una delicata composizione di fiori è collocata dentro una sorta di culla di legno, con funghi e frutti per terra; lo sfondo è in esterno, ma poco definito da macchie v...

Work on wood Molded frame in wood and gilded plaster 74 x 65 x 3.5 cm

Antique oil on canvas painting depicting the mystical marriage of St. Catherine. The work is rich in iconographic invention and intoned in full-bodied, ringing colors, with effects ...

Alfred Stieglitz. Lower Manhattan, New York City, 1910 (printed 1911), vintage photogravure from Camera Work 36.

Presse Ludovico Mirri Mercante d’Quadri incontro al Palazzo Bernini a Roma No.46 is from a series of original engravings published by Lodovico Mirri in the late 18th century and engr...

Early 19th Century Country Landscape in the Style of William Morris Hunt Beautiful original oil painting of a county road landscape with fence and hen and chicks is charming and engaging. Painting is in the style of William Morris Hunt (American, 1824 - 1879) who lived and painted in Massachusetts, New Hampshire, and Vermont. William Hunt is known for his Barbizon School style landscapes, genre and figure painting. Medium: Oil paint on pressed board. Unsigned. Unframed. Condition: Good Board size: 12.25"h x 9.25"W William Morris Hunt One...

This wall corner capboard is painted with chinoiserie ornaments. With exotic flowers, plants, birds and insects. Most likely inspired by drawings on Chinese porcelain. Some touch-ups...

This widely referenced pair of paintings is one of Francesco Conti’s most successful productions. Francesco Conti is one of the finest painters of 18th-century Florence. In the shimmering colors typical of his best work, he represents two opposite characters from the Bible: the virtuous Judith, whose courage saves her people by cutting off the head of the invader Holofernes, and the depraved Salome, who under the influence of her mother becomes responsible for the beheading of the prophet John the Baptist. The artist's talent lies in his ability to treat these two macabre subjects with a light touch, presenting us with two attractive women who seem to twirl with glee amidst the severed heads... 1. Francesco Conti, the “Florentine Tiepolo” Francesco Conti is a major painter of the Florentine school of the 18th century; he can even probably be considered, along with Giovanni Domenico Ferretti (1692-1768), as one of the two main painters of the second quarter of the Florentine 18th century. Born in Florence in 1682, Francesco Conti began his apprenticeship in the workshop of Simone Pignoni (1611 - 1698), a disciple of Francesco Furini; he was also influenced by the Venetian Sebastiano Ricci. A protégé of Marquis Riccardi, he accompanied him to Rome between 1699 and 1705, where he frequented Carlo Maratta's studio. He settled permanently in Florence in 1705. Painted exclusively on canvas, the majority of his work consists of religious subjects, altarpieces or private devotional works. It is likely that Conti himself was a devout churchgoer, as evidenced by his affiliation, in the third decade of the eighteenth century, to the Society of the Disciples of Saint-John-the-Baptist, and his entry, at the end of his life, into the fraternity of the Venerable Society of the Holy Trinity. In Florence, Conti worked for the Grand Duchy's major patrons, including the last Medici - in particular Giangastone and Annamaria Luisa, Electress Palatine - and confirmed his role as a reference painter under the Lorraine Regency, as master of the Public Drawing School, which was closely linked to the institute responsible for the manufacture of semi-precious stone mosaics, then located in the Uffizi complex. Matteo Marangoni, an art critic of the early 20th century, praised his "brushwork full of elegance and true spirit of the 18th century", pointing out that Conti was "probably one of the best colorists" of the Florentine school of his time. These two characteristics led the art historian Paolo dal Poggetto to nickname him the "Florentine Tiepolo". 2. Judith and Salome, two biblical characters opposing each other These two paintings form a pair presenting two biblical episodes, which have in common the depiction of a "heroine" carrying the severed head of a man. While the Salome episode might at first appear to be an echo of the Old Testament story of Judith, each character is the exact opposite of the other. Judith, whose story is told in the Book of Judith, is a beautiful young widow from Bethulia who, accompanied by her maid, went into the camp of the invading Assyrians and won the confidence of Holofernes, the general commanding the enemy army. Invited to a great feast on the fourth evening, she took advantage of Holofernes' drunkenness to cut off his head. “She went up to the bedpost near Holofernes’ head, and took down his sword that hung there. She came close to his bed, took hold of the hair of his head, and said, “Give me strength today, O Lord God of Israel!” Then she struck his neck twice with all her might, and cut off his head. Next she rolled his body off the bed and pulled down the canopy from the posts. Soon afterward she went out and gave Holofernes’ head to her maid, who placed it in her food bag...

The original 1914 poster "Your King and your country need you" is a seminal piece of British propaganda from World War I, embodying the fervor and urgency of the time. Released shortly after the outbreak of the war, it aimed to rally men to enlist in the armed forces and serve their country in its time of need. At the heart of the poster is a striking image of Lord Kitchener, the British Secretary...

At the End Of The Day, 18th/19th Century by Dean Westenholme (1757-1837) to $50,000 18th Century English Fox Hunting scene as the hounds go in for the kill, oil on panel, by Dean ...

'Apuleio' (Apuleius) Copper-line engraving by N Billy after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni...

The original 1915 poster featuring Lord Kitchener's iconic proclamation serves as a powerful artifact of World War I propaganda, encapsulating the urgency and fervor of the times. With the backdrop of the Great War raging across Europe, governments on both sides sought to rally their citizens to support the war effort in various ways, including recruitment, fundraising, and industrial production. The poster's message is clear and direct, conveying the urgency of the situation and the need for immediate action. The central quote from Lord Kitchener emphasizes the critical importance of three key resources: men, materials, and money. These were seen as the essential elements necessary to sustain the war effort and ensure victory on the battlefield. Lord Kitchener, as the British Secretary...

In this masterly painting, Francesco de Mura presents the meeting of Herminia and the shepherds, a famous episode taken from the seventh canto of Torquato Tasso's Jerusalem Delivered...

Marc, Franz (German, 1880-1916). STELLA PEREGRINA. FranzHanffstaengl, Munich, 1917. Only edition. Number 25 of the limited edition of 110. Folio (18 x 13 inches), parchment-bac...

Eccezionale Pastello Liberty , colori luminosi, bellissima cornice decò Lucien Victor GUIRAND DE SCÉVOLA (Sète, 1871 – Parigi, 1950) È allievo ...

Signed and dated oil on canvas seascape by French impressionist painter Emilio Boggio. The piece in a view of the vast, open ocean - a rich blue sea with white ocean foam leading to ...