Paintings

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...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

Venetian painter (18th century) - The wet nurse. 70.5 x 53 cm without frame, 74 x 56 cm with frame. Oil on canvas, in an antique carved and gilded wooden frame. - The work is base...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

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

Venetian painter (18th century) - Madonna with Child. 44.5 x 37 cm without frame, 54 x 46.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. - I...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

After Hendrick MOMMERS (1623-1693) Haarlem Vegetable Market c1750 An early copy c1750, of an entertaining Dutch vegetable market scene in an Italianate landscape. The original was p...

Oil on Canvas. Italian school of the late 1700s-early 1800s. The romantic-taste landscape sees a river flowing between rocky banks topped by leafy trees; on the bank, in the left for...

John Francis Sartorius (1775-1831) A Gentleman shooting in a landscape with a horse and spaniels Oil on canvas Canvas Size 11 1/2 x 16 in Framed...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

A beautiful large late 19th or early 20th century impressionist oil on canvas depicting a wooded landscape with pond and outbuilding, by Theodore Casimir Roussel. Roussel was one of...

The portrait of Prince Valdemar Christian of Schleswig-Holstein, painted after Justus Sustermans, captures the young prince in a moment of poised elegance. Depicted as a young man, t...

Greek icon Oil on wood, gold background 18th / 19th century

A charming oil study depicting a woman gathering grape vines in a field. Part of a pair of oils depicting women harvesting. Unsigned. On panel.

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Peter Monamy (London 1681-1749) A Calm with a Man of War firing a Salute Oil on canvas Canvas Size 14 1/4 x 17 1/4 in Framed Size 20 x 24 in Peter Monamy was an acclaimed British marine painter of the late 17th and early 18th centuries, renowned for his evocative depictions of seascapes and naval scenes. Born in 1681 on Guernsey, one of the Channel Islands, Monamy displayed an early affinity for art, which was shaped by the maritime culture of his homeland. His works vividly capture the drama and grandeur of the sea, marking him as one of the prominent marine artists of his time. At a young age, Monamy moved to London, where he likely apprenticed with a sign painter. His artistic skills flourished during this period, influenced by Dutch marine painters such as Willem van de Velde the Younger...

Robert Azensky Fine Art is pleased to offer original 1909 sketch study of oil painting "Homesteader Colorado Mountain" painting by Frank Tenney Johnson. It's always special to see the evolution of a painting through the plein air sketches ("studies") by the artist prior to its painting. Frank Tenney Johnson traveled throughout the Colorado Rockies sketching and painting western landscapes and native American and cowboy figurative art. Medium: Charcoal on paper Signature: Lower left corner Date: "1909" below signature Condition: Tonal aging and minor edge wear consistent with age and use. See images. Presented in black painted wood frame Mat size: 14"H x 11"W Paper size: 9"H x 6"W Image size (visible with mat): 8"H x 5.25"W Frank Tenney Johnson was born in Coucil Bluffs, Iowa, in 1874 not far from the Overland Trail. During his childhood, he saw the steady stream of people heading west in all forms of horse-drawn conveyance. This early exposure to the American West was critical in leading Johnson towards the Western landscape as an inspiration for his work. The resulting body of work is a moody and romantic depiction of a long-gone America, rendered in a style that has become practically a genre all its own. At the age of ten, Johnson moved from Iowa to Milwaukee, WI. There, he took an apprenticeship with F.W. Heinie, a prominent panoramic painter. After a year with Heinie, Johnson apprenticed for Richard Lorenz, a painter and former Texas Ranger who specialized in depictions of horses and western scenes. It was probably during his time with Lorenz that Johnson decided to focus on western subjects himself. He also started illustrating for regional papers and publications, in order to save money for further training. Further training, as with many of the artists who populated New Mexico in the early twentieth century, took place at the Art Students League in New York, where Robert Henri, William Merritt Chase, John Twachtman, Kenneth Hayes Miller and F. Louis Mora were in the process of teaching perhaps the last great batch of pre-modernists. Though highly stimulated by the training, Johnson was only able to stay for five months, after which he returned to Milwaukee to work and save money in an effort to return to New York. He was able to do so after a time and, upon returning, established an important professional relationship with Emerson Hough, the editor of "Field & Stream" magazine. At Hough's urging (and on Hough's dime), Johnson traveled to Hayden, Colorado, where he tagged along with a group of cowpunchers in order to sketch their way of life. Though primarily an artist, Johnson also wrote accounts of his time in Colorado for "Field & Stream." After Colorado came Cheyenne, Wyoming, where Johnson attended a "Frontier Days" celebration; after Wyoming, Johnson traveled to New Mexico, where he observed the Navajos and their threatened way of life. This trip changed Johnson from an academic artist with an appreciation for the west to a truly western artist. Of particular interest to him, in stark contrast to other western artists of the time like Frederic Remington and C.M. Russell, were the more quotidian scenes of the West. Specifically, Johnson focused upon scenes featuring horses, especially at night. Johnson painted a great number of pieces that featured horses tied up outside of saloons, inns or trading posts for the night, the moonlit night punctuated by the warm glow from the lamps inside. In this, he can be considered a pioneer, as his night pieces still serve as the archetype for such work in western art. Johnson became quite successful through his work for "Field & Stream." He was chosen to illustrate books by the prominent writer Zane Grey, and his gallery shows sold briskly. In fact, one particular show, at the Grand Central Art Galleries at the Biltmore Hotel in New York, sold out opening night. In fact, one man had bought out the entire show: Amon Carter. Having achieved financial security and comfort, Johnson followed his good friend Clyde Forsythe to Alhambra, CA, where the two established residency and shared a studio. California treated Johnson well. He and Forsythe founded the gallery at the Los Angeles Biltmore...

Elegant Figures in Interior *see notes below Italian School, mid 18th century most likely of Venetian origin oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private ...

A set of six framed rare mid to late18th Century Dutch Delft Tiles with a painting of a serious looking Cat in historic dark violet glaze on white glazed earthenware. Dutch Delftwa...

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). French-born Dominic Serres didn’t just paint the drama of...

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 ...

Impressive early American impressionist landscape oil painting. Framed. Oil on board. Signed in monogram. Image size, 12H by 16L.

Artist/ School: Italian School, early 18th century The painting is almost certainly from the circle of the Italian Baroque painter known as 'Rosa da Napoli', Jacob Roos (Rome 1682-Na...

John Nost Sartorius (London 1759-1828) Greyhounds Coursing Signed and dated 'J. N. Sartorius 1820.' lower centre A Pair, Oil on canvas Each Canvas Size - 14 1/8 x 17 1/8 in Each Fram...

'Africa' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Gaspare Diziani (Belluno 1689 – Venice 1767) - Madonna and Child. 74 x 58 cm without frame, 88.5 x 69.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden...

Francis Sartorius (1734-1804) A horse and groom with a dog signed and dated 'F.Sartorius.Pinxt.1777' (lower right) Oil on canvas Canvas Size - 14 1/4 x 18 in Framed Size - 16 1/2 x 1...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 17 x 21 inches canvas: 14 x 18 inches provenance: private collec...

Giacomo Ceruti, known as Il Pitocchetto (1698-1767) – “Turnip” Medium: Oil on canvas Dimensions: 204 x 124 cm (unframed) Provenance: Private collection This remarkable painting, “T...

French School of Francois Boucher (Paris, 1703 - 1770) Putti as Fishermen (Allegory of Water) 18th century Oil on canvas 65 x 146 cm. - In frame 77 x 157 cm. We present a splendid...

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – was exhibited at the Society of Artists Exhibition in London in 1790 and is sold with detailed provenance going back over 230 years. Such is the painting’s quality that for over 150 years it was thought to be by Joseph Wright of Derby (1734–1797) and was exhibited as such on many occasions alongside many of Joseph Wright’s paintings then in the important private collection of Lord Belper of Kingston Hall. This contemporary view of London in the late 18th century is seen from One Tree Hill in what was once the Great North Wood three miles south-east of the capital; prominent amongst the dozens of famous landmarks of Georgian...

Very finely painted early 1900s American impressionist beach scene. Oil on board. Framed. Signed verso. Great colors and very well painted. Excellent ready to hang condition.

Jean-Baptiste Oudry (Paris 1686 - Beauvais 1755) circle of - Hunting scene with greyhounds. 21 x 27 cm without frame, 26 x 32 cm with frame. Antique oil painting on panel, in a car...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

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...

The Pseudo-Guardi was an unidentified Venetian painter from the 18th or early 19th century who closely imitated the style of Francesco Guardi (1712–1793), one of the great Venetian v...

Stephen Elmer (Farnham 1715-1796) A Covey of Partridges in a landscape Oil on canvas Canvas Size 28 x 36 in Framed Size 32 x 43 in Elmer resided at Farnham, Surrey, where he was a m...

Antique Canadian impressionist winter landscape oil painting by Joseph Archibald Browne (1862 - 1948). Oil on board. Signed. Framed. Measuring 15 by 19 inches overall and 10 by 14 pa...

A large pair of 18th century veduta capriccio scenes with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The paintings are presented in more modern carved gilt ...

Bulldog In A Landscape J White (British 19th/20th Century) oil on canvas, framed signed and dated 1908 framed: 32 x 25 inches canvas: 27 x 20 inches provenance: private collection, S...

Antique American impressionist portrait oil painting. Oil on canvas. Signed. Framed. Measuring 15 by 19 inches overall and 10.5 by 15 painting alone.

Impressive early American impressionist dog portrait landscape painting by James Henry Hagaman (1866 - 1946). Oil on canvas. Framed. Signed. Image size, 35 by 22 inches.

Up for sale is a beautiful Antique 18-century original oil painting on canvas depicting a portrait of a beautiful woman In a dress of dark gold brocade trimmed with lace. A bright bl...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

A late 18th Century oil on canvas laid on board of a young beauty in period costume carrying a basket of flowers on her head. Presented in a very fine gilt, period 'Directoire' frame...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

German School, 1700s The Road to Emmaus oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches) Provenance: Swedish author and artist Amel...

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...

Antique Dog Painting of a Cavalier King Charles Gustav Lorincz (Austrian, 1855-1931) Oil on panel, signed 9 1/4 x 6 3/4 (13 3/4 x 11 1/4 frame) inches Gustav Lorincz was a noted painter of animal subjects, mostly portraiture of dogs and cats...

Charles Jervas Possibly Frances Thynne, Lady Worsley 1673-1750 Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Clonli...

James Seymour (1702-1752) & Thomas Spencer (1700-1753) An elegant lady and gentleman hare coursing in an extensive landscape Oil on canvas Canvas Size - 33 x 50 in Framed Size - 41 x...

Signed figures in landscape oil on board by Australian-American impressionist painter Richard Hayley Lever. The work depicts brightly coloured sailing boats in the harbour of St Ives...

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...