Paintings

This beautiful late 18th-century portrait depicts a young lady holding forget-me-nots. Exquisitely attired in a lavish pink dress, she’s the personification of elegance. In her righ...

19th century French oil painting "The horse race" by Louis-Eugène Ginain The painter beautifully captured the moment in which an elegant and majestic brown horse is on the cusp of v...

Hamilton Hamilton Lake Landscape, 1886 Initialed and dated lower right Oil on canvas 22 x 36 inches Of Scottish descent and born in Oxford, England, Hamilton Hamilton became a renow...

This superb British Old Master portrait oil painting is attributed to circle of Henry Harlow. Painted circa 1820 it is a half length standing portrait of a young lady in a landscape ...

Workshop of Bartholomaeus Spranger 16th Century Flemish Leda and the Swan Oil on panel Retelling one of the most legendary Greco-Roman mythological tales, this exceptional oil on...

Very fine old master miniature of Queen Catherine of Braganza Catherine of Braganza's life is a compelling mix of heroism and valuable contributions. ...

A nice decorative Swedish 18th century still life painted on a wood panel. It is in a very nice condition. It is probably painted during the second half of the 18th century. The var...

Circle of Francisco José de Goya y Lucientes (Fuendetodos 1746-1828 Bordeaux) Portrait of a María del Rosario Fernandéz, called 'La Tirana' (1755-1803). OIl on canvas. 76.5 x 57.2 c...

Attributed to Philips Wouwerman (Dutch, 1619 – 1668) The departure of hunters near a ruin Oil on canvas 24 x 28.3/4 in. (61 x 73 cm.) Provenance: A Schonlank Gallery, Cologne; 28th A...

Venetian painter (19th century) - Padua, Caffè Pedrocchi. 37.5 x 48.5 cm without frame, 50.5 x 60 cm with frame. Oil on canvas, in a carved wooden frame. Condition report: Good st...

Officers on horseback with infantry on parade Circle of Dirk Langendijk (Dutch 1748-1805) *see below watercolour on paper mounted in frame frame: 21 x 29 inches board: 10 x 16 inches...

This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted three quarter length and seated within the surroundings of a wooded landscape resting her arm on a classical plinth. The classical architecture signifies cultivation and sophistication, and the pastoral background implies a virtuous character undefiled by the possession of great wealth and estates. Her body is enveloped in a luxurious russet cloak and a gauzy green and gold scarf. The clothing – known as “undress” at the time - was popular in portraiture. This, along with the type of portrait, and the style of clothing and hair help to date the portrait to circa 1684/87. The painting abounds with ingenious flourishes and demonstrations of the painter’s skills. A remarkable care is exercised, for example, in the handling of the drapery and the depiction of the hands have been rendered with remarkable confidence and sophistication. In the past it was thought that the sitter was a member of the Fairfax family of York - a long-established Yorkshire Catholic family who owned extensive land and property in the county. Their principal residence was Gilling Castle, 20 miles north of York. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687. King Charles II was so impressed by a portrait Wissing painted of his illegitimate son the Duke of Monmouth in 1383 that he commissioned his own portrait. (Royal Collection) and that of his Queen Catherine...

Tzar Peter the Great of Russia Arriving in Amsterdam in August 1697 Dutch School, 17th century Circle of Abraham Jansz Storck (c.1635-1708) Dutch Oil on canvas, in a carved giltwood ...

Figures under Archway Italian School, 18th century oil on canvas, unframed canvas: 13.5 x 16.5 inches provenance: private collection, United Kingdom condition: very good and sound co...

In this touching composition a young woman has been depicted wearing a dark coloured dress, draped at the bodice with a gauzy silk scarf and with pearls and large diamonds, over a wh...

A Venetian Gentleman 18th Century Venetian School oil painting on board, framed framed: 7.25 x 6 inches board: 5.25 x 4 inches provenance: private collection, UK condition: some scu...

Nicolas Poussin (Les Andelys 1594 - Rome 1665), Circle of Holy Family with Saint Elizabeth and Saint John the Baptist in a landscape Oil painting on canvas 56 x 68 cm. in frame 72 x 85 cm. We present this splendid work that depicts the episode, taken from the Old Testament, of the meeting of the Holy Family with Saint Elizabeth and the little Saint John. Saint Joseph, in the background, is between Saint Elizabeth, sitting on the ground, and the Madonna. The two hold their respective children on their knees, San Giovannino and Jesus playing with a scroll from which you can glimpse the inscription "Ecce Agnus Dei", evoking the words with which John the Baptist, as an adult, will address Christ, recognizing in him the awaited Messiah, the savior of men. The setting is simple but eloquent, intrinsic with solemnity but softened by the strong sentimental understanding between the characters, underlined by their crossed gazes full of great humanity. The arrangement of the figures also emphasizes their intimate relationship, with the Madonna supporting the Child Jesus balanced by the presence of the other characters, arranged concentrically to enhance the importance of each. There is a strong search for delicate formal correspondences, in the rhythm of the stroke and curves, as well as the psychological ones; in fact, looks and gestures are wisely intertwined, in a highly studied complex but with an extremely simple and natural effect, with a serene and calm tone. Also of great effect is the attention paid to the landscape in the background, in which views of the city and various landscape views appear, rich in detail, with hills, perched villages and architectural ruins, which evoke the area surrounding Rome. The work takes up a composition conceived, during his long stay in Rome, by Nicolas Poussin (Les Andelys 1594 - Rome 1665) *, and is an excellent example of how the author was able to amalgamate and merge the ideal of French...

French painter (c. 1815) - Portrait of a gentleman, probably Napoleon in exile on the island of S. Elena. 109 x 89 cm without frame, 139.5 x 119.5 cm with frame. Oil on canvas, in ...

Very large Flemish Old Master biblical oil painting Belgian/Dutch, 17th Century Frame: Height 93.5cm, width 219cm, depth 5cm Canvas: Height 66cm,...

Afternoon In The Hudson River Valley, 1854 By. John William Hill (English, American, 1812-1879) Signed and Dated Lower Left Unframed: 20 x 30 inches Fra...

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

Academic study of the nude: handsome man with a beard. Nineteenth century. Mixed technique on paper: watercolor and charcoal on slightly gray colored pape...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (frame), signed and dated at lower left...

Autumn Idle, Catskills, New York, October 23, 1885 By. Jervis McEntee (American, 1828-1891) Unframed: 11.5" x 16" Framed: 20.5" x 25" Jervis McEntee was a landscape painter, born in 1828 in the Hudson River Valley in Rondout, New York. It was said that 'Nostalgia may well have been McEntee's middle name", and that he, always attempting to stir emotions in his viewers, often attached poetry to his paintings when exhibiting them. At a time when the Civil War and its after effects caused great disruption in America, McEntee's work may have provided a visual escape for the more educated. His works are rich with the colors of autumn and winter, and he, who often painted in the Catskill Mountains, preferred smaller views rather than panoramas. Usually detailed and simple, his works often reflect a sense of loneliness. As a youngster, McEntee would play in his parents attic, pretending it was an art studio. An unsuccessful attempt at business led McEntee back into the art profession where he studied in New York City under the influence of Frederic E. Church, master of the Hudson River Style, and soon had a showing of his own in the famous Tenth Street Studio Building by 1855. In about 1858, Mr. and Mrs. McEntee hired English architect Calvert Vaux to build a studio next to McEntee's fathers house in Rondout. There Jervis would spend most of his summers, painting the nearby Catskill Mountains, and returning to the city during the winter. At the outbreak of the Civil War, McEntee enlisted in the Union...

We would like to thank Marco Riccòmini for his help in preparing this note and in particular for pointing out the existence of the drawing in the Musei Civici of Reggio Emilia. The ...

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...

Flemish painter of the 17th century Christ and the Samaritan woman at the well Oil painting on canvas cm. 76 x 104 - In frame cm. 93 x 121 The work is ascribed to a Flemish painter, active in the seventeenth century, and illustrates the episode, taken from the Gospel of John (Jn 4, 1-30), of the dialogue between Christ and a Samaritan woman at Jacob's well, near of the city of Sicar, from which the woman has just drawn water and then placed it in a jug. The theme (one of the most frequently used in Counter-Reformation Christian art) celebrated the main concepts of the Council of Trent: the encounter with the Samaritan woman has the symbolic meaning of the innovation brought by Christ who offers the good news even to those who are not considered pure Jew. Even the place of the event, rather unusual and certainly not religious, according to biblical tradition, was rich in meanings and historical salvific evocations. The Gospel episode is reflected in our canvas with an interesting translation both in terms of composition and pictorial quality, finding its culmination in the graceful figure of the Samaritan woman, with her elegant pose, underlined by the skilful drapery of her clothes and her gestures. . The author broadens the horizon of the scene, showing the glimpse of the city of Sicar, illuminated by the light of the dawn of a new day, and from which the disciples of Christ are returning - in the Gospel account John, Peter and Andrew are named - followed by others and by the inhabitants curious to see the new Messiah in person. The conservation conditions of the work appear very good. The painting is sold together with a nice frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

The canvas can be inserted in the production of Christian Reder, known in Italy as Monsù Leandro. After a period of apprenticeship in Hamburg, he was f...

We wish to thank Mrs. Bożena Anna Kowalczyk who suggested this drawing be attributed to Giuseppe Bernardino Bison during a direct examination of the artwork. This drawing, perfectly representative of Giuseppe Bison's technique, represents an episode in Caesar's life that may have been inspired by his incursions on the Brittany coast. It is presented in an exceptional 18th...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...

A wonderful landscape by American artist Thomas Mickell Burnham (1818-1866). Burnham was born in Boston, MA and received informal art training early on, traveling abroad before relo...

George Inness (1825 - 1894) A Cloudy Day, 1886 Oil on canvas 25 x 30 inches Signed and dated lower center Provenance: The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., February 12 - 14, 1895, Lot 132 Joseph H. Spafford, acquired from the above Mrs. Spafford, by bequest from the above Leroy Ireland, New York, 1951 Ernest Closuit, Fort Worth, Texas Meredith Long & Company, Houston, Texas, circa 1960 Private Collection Shannon's Fine Art, American and European Fine Art Auction, October 27, 2016, Lot 42 Exhibited: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90.  Literature: LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonne, Austin, Texas, 1965, p. 336, no. 1324, illustrated. Michael Quick, "George Inness: A Catalogue Raisonne," Vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated.  George Inness, one of America's foremost landscape painters of the late nineteenth century, was born in 1825 near Newburgh, New York. He spent most of his childhood in Newark, New Jersey. He was apprenticed to an engraving firm until 1843, when he studied art in New York with Regis Gignoux, a landscape painter from whom he learned the classical styles and techniques of the Old Masters. In 1851, sponsored by a patron, Inness made a fifteen-month trip to Italy. In 1853 he traveled to France, where he discovered Barbizon landscape painting, leading him to adopt a style that used looser, sketchier brushwork and more open compositions, emphasizing the expressive qualities of nature. After working in New York from 1854 to 1859, he moved to Medfield, Massachusetts, and four years later to New Jersey, where through a fellow painter he began to experiment with using glazes that would allow him to fill his compositions with subtle effects of light. Duncan Phillips remarked on Inness’s mellow light as a unifying force, saying, “…he was equipped to modernize the grand manner of Claude and to apply the methods of Barbizon to American subjects." At this time also, Inness developed an interest in the religious theories of Emanuel Swedenborg...

Follower of Jean-Baptiste Monnoyer (12 January 1636 – 20 February 1699) Still Life Oil on Canvas in Later Giltwood Frame Dimensions refer to size of frame. Jean-Baptiste Monnoyer ...

Peak Moment of Drama is capatured. canvas: 36"w x 50.75"w overall (with frame): 42"h x 56.5"w Artist's placard affixed lower center Provenance: Collection of William and Irene ...

A fine oil painting of a coastal landscape by American artist George Henry Smillie (1840-1921). Smillie was born in New York, son of engraver James Smillie...

Thaddeus Welch (American 1844-1919) The Columbian Exhibition, the 1893 Chicago World’s Fair 70 x 35”, oil on board signed Request Price The C...

Wonderfully painted early 19th-century English rural landscape with cattle in a cowshed. Very similar to the work of Edward Williams who was a very well-known English landscape pai...

This elegant large-scale portrait, presented by Titan Fine Art, is a fine example of Sir Godfrey Kneller’s court-style depiction of aristocratic and wealthy women. Beautifully composed, the sitter is three quarter length and seated within a wooded landscape. Pastoral backgrounds imply a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. The sitter wears an azure dress with a russet cloak elegantly draped over her arm and around her body. In this picture, we can see Kneller’s technique at its best, the excellent drawing of the face. It is painted with a delicacy that contrasts with Kneller’s more usual bold manner. The sitter is also unencumbered by high fashion or a background of stately topography. The emphasis is instead placed directly on the alluring femininity, and enhanced by the loose drapery and falling hair around her shoulder. We can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones. In both techniques, we should bear in mind Kneller’s own advice, when rebuking those who peered at his works too closely, ‘My paintings were not made for smelling of…’, and yet here the sitter’s face bears even the closest scrutiny. In accordance with the sitter's age, and the style of clothing and hair, this portrait can be dated to the 1690s. Traditionally this portrait is thought to represent Susannah Papillon (nee Gregory) who was born on 13th Feb 1699 and married John Gregory Esq. However, the portrait was painted before her birth; the sitter is almost definitely her mother, Susannah Henshaw Papillon (1661-1707). Indeed, a portrait of “Susannah Henshaw, 2nd Wife of Philipp Papillon” (oil on canvas, 49.6 in. x 40.2 inches), sold at Dorotheum on October 4, 2000 [Lot 389], bears a striking resemblance to the sitter in our portrait. Susannah Henshaw was a daughter of George Henshaw, a merchant and diplomat who served as British Consul in Genoa (d.1724). In 1695 she married Philip Papillon MP (1660-1736) as his second wife. The Papillon’s were a line of politicians and land-owning gentry whose family home was Papillon Hall and Acrise Place, in Kent (a house dating from the 16th century and held by the family from 1664 to 1850 and 1946 to 1986). The couple had issue: Thomas Papillon (c.1696-c.1714), Elizabeth Papillon (c.1697-1729), Phillip Papillon (1698–1746), Susannah Gregory Papillon (13 Feb 1699–), and Sarah Papillon (born 1701). As the portrait was painted in the 1690s, and with the inclusion of the sweetbriar roses in her hand, a representation of love, this portrait was almost certainly painted to celebrate the occasion of her marriage in 1695. The Papillons were Huguenots. Thomas Papillon was Captain of the Guard to Henri IV of France but he sent his family to England in 1588 to avoid persecution as Protestants. His second son David (d.1659), an architect and military engineer built Papillon Hall in Lubenham (Leicestershire) in about 1620. He married as his second wife Anne Marie Calandrini, whose family had fled Italy as Protestants. Thomas (d.1702) the eldest son of this marriage purchased Acrise Place, Kent in 1664. He was a prominent merchant and campaigner for civil and religious freedoms as M.P. for Dover and then for London. His son Philip (d.1736) was also M.P. for Dover and married the sitter in our portrait. In the early 18th century Papillon Hall ceased to be used by the family and was sold to yeomen graziers. In 1850 the Papillons sold Acrise to William Mackinnon MP after whose death it was sold in 1908 to the Walney family, who occupied it until 1936. After standing empty for a time the house was used by the Army during the war and repurchased by Mr. A.H. Papillon, a descendant of the estate's original owner around 1946. The Folkestone Building Company purchased the property in 1986 and undertook a major programme of restoration. The main house is now divided into two separate properties, Acrise Place and Acrise Court. Although history records what became of the sitter’s husband (and his heir) it is not known which branch of the family held this portrait in the eighteenth and nineteenth centuries. It is possible that a collection of art and furniture, which may have included this picture, was reassembled at the time of Acrise Place's re-acquisition around 1946. The painting was recently located at Dewlish House, near Dewlish. The house is one of Dorset’s most beautiful country houses and is Grade I Listed. It was built in the Queen Anne/Georgian style in 1702 by Thomas Skinner, on the site of a large Roman villa. The property is set in 296 acres of picturesque parkland with farmland, forests, and a private lake. It was owned for two centuries by the Michel family and their descendants, including Sir John Michel, a notable soldier who served in the Crimean War. Anthony Boyden purchased the property in 1962, representing only the second time the property was sold in its 300-year history. This exquisite painting is held in its outstanding original hand carved and gilded frame – a work of art in itself and is in excellent condition. Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture...

Antique American school 19th century Hudson River School oil painting. No signature found. Unframed. Image size, 12H x 19 3/4L

Study of a dog Oil on paper laid down on panel, 17.5 x 25.5 cm Provenance Private collection, the Netherlands Note: We are grateful to Mr Fred Meijer for his attribution to Ludolf de Jongh Ludolf de Jongh was the son of a shoemaker. When his father moved to Rotterdam, the young Ludolf decided to learn art rather than shoemaking and became a pupil of Cornelis Saftleven. Later he studied under Anthony Palamedes in Delft and still later with Jan van Bijlert in Utrecht. In 1635 he travelled to France with Francis Bacon. Seven years later, in 1642, he returned to the Netherlands when he heard that his mother had fallen ill. He set up a shop in Rotterdam, and his earliest signed paintings date from that year. According to Houbraken, his travels had caused him to speak French so fluently, that his parents had to learn French in order to speak with him. De Jongh’s work shows a strong influence from the Utrecht school of Caravaggio admirers, especially Jacob Duck...

Follower of Sir Joshua Reynolds (1723 - 1792) A double portrait of a married couple Sir Thomas Tancred (d.1784) and his wife Penelope (d.1837) daughter of Thomas Ashton (or Assheto...

Two masterpieces by the Master of the Fertility of the Egg, nearly impossible to find in homogeneous pairs on the private market, both in terms of style and dimensions. They represen...

Portrait of a lady, seated on an ornamental garden terrace, wearing a russet coloured dress adorned with pearls and jewels, by Caspar Netscher, c.1680....

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...

History Painting of the Greek story. The work was first painted in 1766 by Benjamin West. The original masterpiece is located in the Tate. According...

Signed lower right and signed verso Augustus Rockwell was born in 1822. Although not a primary member of the Hudson River School, his landscapes often display the delicate renderi...