Paintings

Signed Lower Right by Artist

Carl Carlsen Danish, 1855-1917 Figures in the Forest Oil on canvas Signed and dated ‘Carl Carlsen 1900’ lower right 24 ½ by 30 ½ in. w/frame 31 by 36 i...

Artist

Myron Barlow American, 1873-1937 Woman with Strawberries Oil on canvas 29 by 29 in. W/frame 35 by 35 in. Unsigned Studied: Art Institution of Chicago; Ecole des Beaux-Arts, Gerome...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with f...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Date: 1909 Medium: Oil on Board Dimensions: 30" x 20" Signature: Signed Lower Right Image of an elderly man in a gun shop. John Newton Howitt...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subje...

Signed upper right Private Collection Luks was famous for painting people from impoverished slum areas. The work was most likely painted from life and portrays a youth haphazardly dressed. Luks describes the subject in quick rapid-fire brush...

Medium: Mixed Media on Board Signature: Unsigned Date: 1900 Dimensions: 30.00" x 14.00"

"Alexander Adriaenssen (1587-1661). Still Life With Fish" By Alexander ADRIAENSSEN (1587-1661). Still life with fish", oil on panel, 50.5 x 76.5 cm

Medium: Oil on Board Signature: Signed Upper Right Illustration for "Da Strit Pianna" by Wallace Irwin, Collier's Magazine April 25th, 1905

Medium: Gouache on Board Signature: Signed Lower Right Seats of the Haughty, Munsey's Magazine illustration, December 1906 Literature: This illustration appeared in O. Henry's shor...

MIRO LLEO Gaspar (1859-1930) Venice Views in Pair Oils on canvas signed low right Old frames gilded with leaves Dim canvas : 65 X 50 cm (each) D...

A mother watches as her daughter rides a donkey Medium: Oil on Canvas Signature: Signed Upper Left Good Housekeeping Magazine Cover, August 1905

Medium: Oil on Canvas Signature: Signed Lower Center

Medium: Ink and Gouache Signature: Signed Lower Right Probably a magazine cover for a Munsey’s pulp, ca. 1905.

Medium: Watercolor on Paper Laid to Board Signature: Signed Lower Left Saturday Evening Post Cover, June 20, 1908 Edward Penfield produced some of America’s finest posters. His clean style and large silhouetted shapes resulted from much careful preliminary refinement and elimination of detail. Horses and coaches were a favorite subject with him, as typified with his picture of the colonial Post Road. A notable series of his illustrations were contained in his book, Holland Sketches...

Date: 1908 Medium: Gouache on Three Illustration Boards Dimensions: 2.50" x 32.50"; Two at 12.50" x 9.75", Overall 12" x 53" Signature: Each Signed or Monogrammed Large group of cup...

Original cover for The Saturday Evening Post, published October 13, 1906 Gruger illustrated only three post covers throughout his career. This was the second one completed. Artwor...

Italian painter (18th century) - Chrono. 90.5 x 106 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictorial ...

French Master (18th century) - Sleeping Diana. 95 x 125 cm. Old oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictorial ...

Medium: Oil Painting Signature: Signed Lower Right Lady

Medium: Oil on Canvas Signature: Signed and Dated Lower Right

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788) - River landscape with shepherds and herds. 31 x 46 cm without frame, 47.5 x 57 cm with frame. Tempera on paper, in a gilded ...

Oil on oak panel Image size: 17 1/4 x 22 1/4 inches (44 x 56.5 cm) Period oak frame This is a portrait of a Tudor gentleman in an open next shirt with one hand raised to his chest. ...

Attributed to Francesco Bonsignori Italian 1455-1519 Christ as a Boy Oil on wood panel Image size: 12 1/4 x 16 inches (31 x 40.5 cm) Original gilt frame  In this painting on panel, ...

Man Smoking on a Barrel Circle of David Teniers the Younger 1610-1690 Oil on oak panel Image size: 9 1/2 x12 1/2 inches (23.5 x 32 cm) Handmade contemporary frame Here in this tave...

Remigius Van Leemput Portrait of Nicholas Poyntz 1607-1675 Oil on oak panel Image size: 13 x 10 1/4 inches (33 x 26 cm) Contemporary style frame Provenance The Dalva Brothers Colle...

Gerard Ter Borch Interior with a Lady in Grey Washing her Hand 1617 - 1681 Oil on Canvas Image Size: 20 1/2 x 26 1/2 inches (52 x 67.5 cm) Contemporary Dutch ripple frame In this genre painting by Ter Borch, the central woman is composed facing the viewer in a grey satin dress...

English School Cardinal Thomas Wolsey 16th Century Oil on oak panel Image size: 22 1/4 x 18 inches (56.5 x 46 cm) Contemporary style frame Provenance Tudor Exhibition, New Gallery, ...

Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm)  Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...

The painting Juno and King Aeolus at the Cave of Winds by Randa depicts a dramatic scene from Greco-Roman mythology. It portrays Juno, the queen of the gods, visiting Aeolus, the rul...

British School Oil on Canvas Image Size: 31 inches x 25 3/4 inches (79 x 65.5 cm) Original gilt frame Gathered along a riverside are two fishermen turned in conversation, one of who...

Portrait of Lady Mansfield of Ringwood Oil on Canvas Image size: 25 x 30 inches (63 x 76 cm) Original carved & gilded frame POA Provenance Descended through the Family Estate Born in Poland in 1760 to the 2nd Earl of Mansfield and his wife, Elizabeth Mary Murray would later come under the care of her uncle, William Murray (1st Earl of Mansfield) at Kenwood House in Hampstead. David Murray (2nd Earl of Mansfield) was set to inherit the title and full wealth of his uncle, including Kenwood House. Lady Mansfield’s second cousin would soon join her at Kenwood, where they would be raised together and featured in multiple portraits of the time. Her younger sister, Henrietta, is seen in a separate portrait done by Thomas Hudson as well. At the age of 25 she married George Finch-Hatton, an English aristocrat and politician who sat in the House of Commons from 1772-1784. Gazing out at the viewer, Lady Mansfield wears a decorated dress, with an abundance of pearls and lace, and a transparent gold lined veil surrounding her right shoulder. The excess of luxurious fabric matches another Hudson portrait of another Lady Mansfield, with the lace detailing and complementary bodice. The depiction of this Lady Mansfield epitomizes the style of portraiture in the 18th century, such as the styles Hudson’s pupils Joshua Reynolds, Joseph Wright, and Peter Toms. From Hudson’s travels to the Low Countries and Italy, he no doubt brought back artistic inspiration from the international pieces he encountered. Thomas Hudson Hudson was a celebrated 18th century portrait painter. Born in Devon in 1701 he studied under the artist Jonathan Richardson and married his daughter, against Richardson’s wishes. He had many artistic friends including William Hogarth and Francis Hayman and travelled with them in Europe in 1748. He also visited Italy with the sculptor Louis-François Roubiliac in 1752. Hudson’s style of portraiture proved so successful that for a decade from 1745 to 1755 he was London’s most popular portrait painter and made a fortune painting the cream of London society and members of the Royal Family. He was also a talented teacher, perhaps too good, as subsequently a number of his former assistants overtook him in popularity including the artist Joshua Reynolds. Hudson retired in the late 1750’s and died in Twickenham in 1779. His most notable works include portraits of King George II and George Friedrich Handel and his “Portrait of a Nobleman in Van Dyck dress.” Many of Hudson’s works may be seen in art galleries. These include the National Portrait Gallery, the National Maritime Museum, the Tate Gallery, the Foundling Museum and the Bristol City Museum and Art Gallery. His works are also in Museums across the world...

Portrait of Lady Mansfield of Ringwood Oil on Canvas Image size: 25 x 30 inches (63 x 76 cm) Original carved & gilded frame POA Provenance Descended through the Family Estate The y...

Jean-Baptiste Monnoyer 1636-1699 French Still Life with Flowers on a Carved Stone Ledge Oil on canvas Impeccable detail and luminous color breathe life into this floral still lif...

After Robert Walker 1599 - 1658 Portrait of Oliver Cromwell (1599-1658), bust-length, in armour Oil on canvas Image size: 24 x 29 inches (61 x 73 cm) Original carved gilt frame This...

Studio of Adriaen Isenbrandt 1510 - 1551 The Virgin and Child Enthroned Oil on oak panel, wax seal verso Image size: 10 3/4 x 8 inches (27 x 20.5 cm) Contemporary style frame (image below) POA Provenance Collection of Mrs Marianne Hudson Mary, holding Jesus in her arms, is centrally positioned against a gold detailed architectural backdrop, reflecting the traditional iconography of the enthroned Virgin and Child. This composition suggests the theme of “Maestà” or “Majesty,” emphasising the figures religious significance. In the painting from the studio of Adriaen Isenbrandt, the artist masterfully infuses the scene with rich symbolism and hidden meanings that reflect the cultural and religious context of the period. The infant Christ, seated on the Virgin Mary’s lap, is draped in a delicate, translucent white garment that symbolises his purity. In his hand, he clutches a piece of coral, a multifaceted symbol representing immortality, youth, and health. Notably, coral was also a common teething tool during that era, adding another layer of contemporary relevance. A scarlet-headed blackbird, native to South America, perches gracefully on Christ’s outstretched finger. This bird is a potent symbol of creation and protection, enhancing the divine narrative of the scene. Mary, with a tender and loving gesture, caresses Christ’s back while gazing adoringly at her son, underscoring her role as the nurturing mother of God. Mary is centrally positioned within an architectural alcove, which subtly suggests a heavenly halo without explicitly depicting one. The alcove’s niches, traditionally used to emphasise the importance of sculptures, further highlight her significance. She is adorned in a voluminous red gown, with the undulating folds of the fabric accentuated by white highlights. The red colour of her dress symbolises maternal qualities, while the iridescent blue undercoat, visible in certain areas, signifies sanctity and purity due to its rarity and expense at the time. Moreover, Mary is depicted as the epitome of contemporary Medieval...

Oil on canvas Image size: 13 x 16 1/2 inches (33 x 42 cm) Contemporary style frame (Image below) Provenance Private European Collection Darnley Fine Art offers this boldly brushed ...

Spanish School (18th Century), A Rare Portrait of Juan Procopio de Bassecourt, count of Santa Clara, governor of the island of Cuba between December 1796 and May 1799. The lighthouse...

Oil on canvas Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt frame This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. It is possible that this sitter is Miss Anne Dutton. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

Oil on oak panel Image size: 24 1/2 x 41 1/4 inches (62.25 x 104.75 cm) 19th Century Handmade frame POA Jan Brueghel the Younger Jan Brueg...

Oil on oak panel Image size: 14 1/4 x 11 3/4 inches (36 x 30 cm) Period style frame This portrait shows Chaucer with a string of beads in one hand and a writing implement in the other. The Arms in the top left of the picture are the Arms of Chaucer, featuring a per pale argent and gules, a bend counterchanged. This painting appears to derive, like all other portraits of Chaucer, from an illustration in an early fifteenth-century manuscript, Hoccleve's De Regimine Principum. Here Hoccleve included one portrait of Chaucer, showing him with an inkhorn around his neck and holding a rosary in one hand. Since it is likely that Hoccleve had met Chaucer, many scholars believe this could be the most genuine representation of the English writer with all other depictions being seemingly based on it. In almost all portraits of Chaucer, including this one, the poet is shown wearing a pendant attached to his vest. This item is often considered to be a penner, included in the artworks as a sign of the general occupation of a writer. Whilst the pendant is generally accepted as a case for a writing instrument, possibly with equal plausibility, it has also been suggested that the item is an ampulla, a small lead vial containing water and the blood of St. Thomas Becket...

Oil on copper Image size: 15 x 10 1/2 inches (38 x 26.5 cm) Period style hand made frame This landscape depicts the area surrounding the Tivoli waterfalls in Italy. Thanks to its proximity in Rome, which lies some 30 km to the Southwest, Tivoli has long been a destination for artists. The Italian landscapists whose work was so coveted by Grand Tourist collectors—Claude, Gaspard Dughet and Salvator Rosa—all sketched there, while the Northern Italianates, including Cornelis van Poelenburgh...

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...

Theo Van Rysselberghe Gent 1862-1926 Saint-Clair, Var Soleil couchant à Veere, 1906 Ondergaande zon te Veere Oil on canvas 60 x 73 cm. Signed and dated: lower left with monogram ‘06’ Provenance: Private collection, Belgium; Sotheby’s, New York, auct. 12 November 1988, cat. no. 326; Hammer Gallery, auct. 1 February 1986; private collection, Israel; Campo, Antwerp, October 1978; Campo, Antwerp, 17 October 1977; Palais Galliéra...

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...

Portrait of a well-to-do gentleman in pastel on parchment. Signed left: Marteau L. 1760. French School, possibly by Louis Marteau (1715 – 1804) In a gilded 19th century frame. Dimen...

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...

The Vigil-at-Arms, illustration for a poem by William Lucius Graves published in Scribner's Magazine, December 1904 Medium: Oil on Canvas Signature: Signed

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...

British Landscape and Marine Artist Robert Willoughby was a late 18th early 19th century British marine painter who specialized in large marine genre...

Important work by one of the leading artists of the italian naturalism, influenced by Giovanni Fattori as well as the the Barbizon School in France. Provenience: Collection of the Qu...

Paul E. Harney, Jr. "Feeding Time" 1909 Oil on Wood Panel Signed and Dated Panel Size: approx 8 x 12 inches Framed Size: approx. 16 x 19 inches Paul Harney (1850-1915) Born in New ...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00", Framed 30.00" x 27.00" Cover of Saturday Evening Post Magazine, October 31, 1908. Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC The National Arts Club NYC Jan 6- 19 2013 Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 Joseph Christian Leyendecker was one of the most famous and prolific illustrators of his time and painted one less cover for The Saturday Evening Post than Norman Rockwell. He was the creator of the cherubic New Year’s Baby and the handsome Arrow Shirt Man who set the style for men’s fashion for decades. In addition to his beautiful men, women and children, Leyendecker’s covers and advertisements depicted subjects ranging from sports to war to politics. This 1908 Post cover shows a young newsboy holding pictures of William Howard Taft...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 29.25" x 21.00", Framed 44.00" x 35.00" The Speed God Mercury, Collier's Magazine Cover, January 19, 1907 Leyendecker,...