Paintings

Oil on copper Comes with a certificate by dr. Jan De Maere 20/01/2023) Dimensions: 26 x 20 cm, 36 x 30 cm (framed) Johann König was a German painter and follower of Adam Elsheime...

This lovely British Old Master portrait oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1820 it is a seated half length portrait of a beautiful lady in a b...

Italian painter (19th century) - Madonna and Child. 100 x 100 cm without frame, 121.5 x 121.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. C...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711), attributed Circumcision of Christ Oil on canvas, 120 x 102 cm., In frame 138 x 119 cm. The p...

Still life with playing cards, coral, shells, a jewelry box and a stone sculpture Oil on canvas We'd like to thank dr. Fred Meijer for his attribution. Carstian Luyckx was a 17th ...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

Muscular Made Nude, "Olympus"? sepia watercolour drawing on paper, framed framed: 23 x 15 inches painting: 20 x 13 inches provenance: private collection condition: very good and sou...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

Nicolaes (or Claes) Molenaer (Haarlem c. 1630 - 1676) attributable Winter landscape with village, frozen river and travellers Oil on canvas 63 x 77 cm. - framed 82 x 95 cm. The pai...

This superb Old Master later 17th/early 18th century oil painting is attributed to Baroque painter and German born animal artist Philipp Peter Roos. He was active in and near Rome fr...

This painting has been the subject of a study by the art historian Fabrizio Dassie (available on request), confirming its inclusion in Jan van Bunnik’s corpus. In this painting, Ja...

This lovely Old Master portrait oil painting is attributed to the circle of Joseph Wright of Derby. Painted circa 1780 the painting is of a boy in a tunic and wide collar. A really c...

This stunning Old Master oil painting is attributed to a follower of Anthony Van Dyck. Painted in the 18th century it is a superb large religious art work of the crucifixion of Chris...

This stunning British Old Master oil painting is attributed to circle of noted bird painter Marmaduke Cradock. Painted circa 1690 it is an excellent example and the sort of collection of birds he loved to paint - a peacock, wild turkeys, a jay in the foreground and doves, all set in a beautiful landscape. A variant of this painting is now in The Tate collection. Unlike many artists, he preferred to paint live birds with all their passions, joys and quarrels. The artist has perfectly capture the dynamics between this group, especially the dove and jay, as they all begin to settle down in the twilight. The colouring and brushwork are superb making this a fantastic British Old Master bird oil painting in a stunning carved gilt frame. Provenance. London estate. Condition. Oil on canvas, 42 inches by 39 inches and in good condition. Frame. Housed in a magnificent complementary period carved and gilded frame, 50 inches by 47 inches and in good condition. Marmaduke Cradock (1660-1716) was an English painter of birds and animals. Some older sources give his first name as Luke. Cradock was an English painter, noted for his depictions of birds, dead game, and other animals. He was born in Somerton, Somerset and moved to London, where he served an apprenticeship to a house-painter. He was, however, self-taught as an artist, becoming skilled in the depiction of birds and animals. Horace Walpole wrote that "I have seen some pieces by his hand which he painted with a freedom and a fire that entitled them to more distinction". According to Walpole, Cradock deliberately shunned aristocratic patronage. He worked in general by the day, and for dealers who retailed his works; possessing that conscious dignity of talent which made him hate to be employed by men whose birth and fortune confined his fancy, and restrained his freedom. According to the RKD his work as a still life and bird painter was influenced by Melchior d'Hondecoeter, Peter Frans Casteels, and Jakob Bogdani. Sketches in the collection of the British Museum indicate that he based at least some of the birds in his paintings on drawings from life. He tended to paint domestic birds and common wild species, rather than the exotic varieties favoured by some other artists. He sometimes introduced elements of drama such as attacks by predatory animals into his bird paintings, a feature shared with the works of Francis Barlow...

Pausing for a Rest English School, circa 1800 the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inches canvas...

Saint Sebastian cured by angels Antonio d'Enrico, called Tanzio da Varallo (Alagna Valsesia, c. 1582 - Varallo, 1633) - circle of Oil on canvas 112 ...

Winter Scene with Figures Dutch School, 20th century signed 'M. Feyen' signed oil on board, framed in elaborate gilt swept frame framed: 19.5 x 23.5 inches board: 14 x 18 inches prov...

A fine Old Master British portrait oil painting which dates to circa 1830 and depicts a girl. Painted by the president of the Royal Scottish Academy, Sir John Watson Gordon...

Classical Still Life of Flowers French School, early 20th century oil on board, framed framed: 12 x 8.5 inches board: 11 x 8.5 inches provenance: private collection, France condition...

This lovely French Old Master portrait oil painting is attributed to the circle of Jean Auguste Dominique Ingres. Painted circa 1810 it is a head and shoulders profile of a beautiful woman, resting her head on one hand. There is superb attention to detail and vibrant colouring. An excellent example of a French Old Master portrait of the period. Provenance. London estate. Condition. Oil on canvas, 15 inches by 12 inches unframed and in good condition. Frame. Housed in a gilt frame, 20 inches by 17 inches framed and in good condition. Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. He was finally recognized at the Salon in 1824, when his Raphaelesque painting of the Vow of Louis XIII was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur...

This is a superb Italian Old Master portrait oil painting attributed to circle of Guido Reni. It is a half length portrait of the penitent Mary Magdalene...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

This lovely British 18th century Old Master oil painting is attributed to the manner of Thomas Beach. The sitter is Robert Monypenny (1771-1834) aged seven. He is the youngest son of...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a gui...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...

An original, very large Dutch Old Master oil on canvas which is attributed to circle of Jan Wijnants and was painted circa 1680. The huge canvas is in good clean condition and depicts a wooded landscape with travellers passing through. A delightful very large country house old master painting. Provenance. Private collection, Christies. Condition. Oil on canvas. Very large, image size is 53 inches by 41 inches and in good clean condition. Framed size is 63 by 51 inches. The carved original 17th Century wood frame...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

This superb British 18th century Old Master portrait oil painting is attributed to Matthew William Peters. Painted circa 1780 it is a fine half length portrait of a woman gazing to her left. She has a lovely blue bow and sash on her dress. The sympathetic detail in her face is sublime. A really wonderful 18th century Old Master portrait. Matthew William Peters was known for his late 18th century portraits which had both the influence of Sir Joshua Reynolds and Thomas Gainsborough. Provenance. Lincolnshire estate. Condition. Oil on canvas 30 inches by 25 inches unframed and in good condition. Has has restoration. Frame. Housed in an ornate gilt carved swept period frame, 40 inches by 35 inches framed and in good condition. Matthew William Peters (1742-1814) was an English portrait and genre painter who later became an Anglican clergyman and chaplain to George IV. He became known as "William" when he started signing his works as "W. Peters". Peters was born in Freshwater, Isle of Wight, the son of Matthew Peters (born at Belfast, 1711), a civil engineer and member of the Royal Dublin Society; by Elizabeth, the eldest daughter of George Younge of Dublin. The family moved from England to Dublin when Peters was young. Peters received his artistic training from Robert West in Dublin; in 1756 and 1758 he received prizes from the first School of Design in Dublin. In 1759, he was sent by the Dublin Society to London to become a student of Thomas Hudson and won a premium from the Society of Arts. The group also paid for him to travel to Italy to study art from 1761 to 1765. On 23 September 1762 he was elected to the Accademia del Disegno in Florence. Peters returned to England in 1765 and exhibited works at the Society of Artists from 1766 to 1769. Beginning in 1769, Peters exhibited works at the Royal Academy. In 1771 he was elected an associate and in 1777 an academician. He returned to Italy in 1771 and stayed until 1775. He also probably traveled to Paris in 1783–84, where he met Léopold Boilly, Antoine Vestier, and was influenced by the work of Jean-Baptiste Greuze. On 27 February 1769, Peters became a freemason, and he was made the grand portrait painter of the Freemasons and the first provincial grand master of Lincolnshire in 1792. In 1785, he exhibited portraits of the Duke of Manchester and Lord Petre as Grand Master at the Royal Academy exhibition. According to Robin Simon's article in the Oxford Dictionary of National Biography, no British contemporary had such an Italian manner of painting as Peters, reflecting the old masters he copied. Many of Peters' works were erotic and although these works did not damage his career, according to Simon, Peters later regretted these when he became an ordained clergyman in 1781. He served as the Royal Academy's chaplain from 1784 to 1788, at which time he resigned to become chaplain to the Prince of Wales. In 1784, Peters was awarded the living of Scalford, Leicestershire by Charles Manners, 4th Duke of Rutland. In 1788, the Dowager Duchess gave him the living at Knipton, at which time he also obtained that at Woolsthorpe. These livings were near to Belvoir Castle...

A superb, large Regency circa 1820 portrait of the finest quality. It depicts a lovely young woman holding a child on her back. The portrait is framed behind glass in a magnificent d...

A luminous Autumn oil on canvas board landscape, probably of the hills in the Hudson River Valley, by the noted American artist William Louis Sonntag (1822-1900). Signed in the lower...

Venice - Mario De Angeli - Italia 2006 - Oil on canvas cm. 70x90. Mario De Angeli's canvas is an extraordinary work of Italian landscape painting. They are inspired by the landscap...

Carlo Grubacs (Perasto 1801 - Venice 1870) - Venice, pair of views of Piazza S. Marco and the Piazzetta towards the Clock Tower. 19 x 24 cm without frame, 25 x 30 cm with frame. An...

This fantastic portrait oil painting is attributed to British Old Master Joseph Highmore and was painted in 1770. The half length standing portrait is of a Cleric, dressed in his wig...

This superb late 18th century portrait oil painting is attributed to noted Scottish artist Alexander Nasmyth. Painted circa 1790 the sitter is of the Wagstaff family, either Thomas o...

Biblical Figures, Large Gathering around Christ? Dutch Old Master, early 17th century oil painting on wood panel, stuck on velvet backing board velvet board: 27 x 29 inches board: 25.5 x 26 inches provenance: private collection, France condition: good and sound condition, obvious old panel...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

This very charming British 19th century Old Master portrait oil painting is attributed to the circle of Thomas Lawrence. Painted circa 1810 it is a seated half length portrait of a l...

Giovanni Ghisolfi (Milan 1623 - 1683) Architectural capriccio with ruins of an Ionic temple Oil painting on canvas 73 x 87 cm., within a gilded wooden frame 87 x 100 cm. This quali...

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

Virgin and Child Workshop of Pieter Coecke Van Aelst (Aelst, 1502- Brussels, 1550) 16th century Oil on oak panel Dimensions: panel: h. 71.5cm, W. 48.5 cm (28.15 in x 19.09 in) Later ...

This lovely British Old Master portrait oil painting is painted in the manner of Sir Henry Raeburn. Painted circa 1800, the sitter is Anne Neale Tucker Lauzun. She was born in St Geo...

This stunning Neo Classical French 19th century landscape oil painting is by acclaimed French artist Jean Victor Bertin. He was also an early proponent of sketching out doors and dir...

This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of...

Dutch painter (18th-19th century) - The spanking. 60 x 99 cm without frame, 67 x 106 cm with frame. Antique oil painting on wood, without frame. Condition report: Wooden support s...

This superb trompe l'oeil painting is in the typical manner and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central cartouche, most probably the wor...

Carlo Grubacs (Perasto 1801 - Venice 1870) - Venice, pair of views of Piazza S. Marco and the Basin towards the Riva degli Schiavoni. 11 x 16 cm without frame, 29.5 x 34.5 cm with f...

Provenance The Sitter (Probably commissioned for the marriage of Samuel Edwin and Lady Catherine Montagu in 1697), Thence by descent, Charles Edwin (c. 1670 - 1716), Llanmihangel Pl...

After SIR JOSHUA REYNOLDS (1723 -1792) Portrait of Mrs Boone and her Daughter Oil on Canvas Canvas Size : 55.25 x 43.25 inches (140 x 110 cms) Framed size : 62 x 50 inches (157.5 x 127 cms) Provenance : Private Collection, France This present picture is a good quality copy of a Reynolds original. Copies are notoriously difficult to date, but judging by the style and the materials used it is most probable that we are dealing with a picture painted between 1890 and 1920. The professional standard of the work makes this painting a fine and substantial piece of decoration in the 18th century English manner. But in this case there is more… The Reynolds original was painted around 1774-6 and depicts Harriet Boone, wife of Charles Boone with their daughter, also Harriet – later the wife of Sir William Drummond K.C. This picture was by 1865 in the collection of one T Colleton Garth (a relative of the younger Harriet Boone), who lent it to an exhibition of Old Master pictures at the British Institution in 1865. It was engraved in 1866 by G.H. Emery – presumably after attracting some attention at that exhibition. The painting was then bought from Garth by the dealers Agnew in 1903 and sold the following year in 1904 to the famous Anglo-German diamond magnate Alfred Beit. Two years later in 1906, Beit - who would fill his later years with numerous philanthropic donations in Germany, England and South Africa - gave the Reynolds original of Mrs Boone to the Berlin Gallery...

The sitter is elegantly attired in a blue silk dress over a white frilled chemise and a striking crimson mantle. The artist, Thomas Murray, can be described as one of the most successful and talented during the last part of the seventeenth century. It is not surprising that Murray painted the portraits of King William III, Queen Mary, Queen Ann as well as several other high-ranking individuals. The influence of Sir Godfrey Kneller is evident and even expected considering the importance of Kneller, and even though the formula employed for head and shoulders portraits of woman during the period is similar, Murray’s work is distinguishable by a refined and elegant manner, a smooth overall feel, and often, distinctive eyes. Murray is known to have employed not only the same pattern as our portrait but the three distinctive colours (blue, white, red) many times. Thomas Murray was born in Scotland but moved to London to study with a member of the De Critz family. Later he was a pupil of the English portraitist John Riley (1646-1691), who was court painter to King William III and Queen Mary, and was practising as a painter on his own in the 1680s. In 1691 he took over Riley’s studio when that artist died in 1691 and he established a very successful practice. The Rev, James Dalloway accounted that Murray “was remarkable for his personal beauty and for the elegance of his manner” and he was also noted to have been hard working, courteous and popular with his customers. His portraiture retains an individual style and easily recognised but his earlier work is similar to John Closterman, who was a fellow pupil, and many consider this period to be his finest. Murray invested wisely in property and when he died in 1735, he left around £40,000. He had no children and he bequeathed his money to a nephew with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much – but his nephew decided that it was indeed “too expensive” and the plan did not proceed. He is buried in St. Paul's, Covent Garden. Murray’s work is represented in many British country houses and private collections, the National Portrait Gallery London, Royal Society and Middle Temple in London, and in the Uffizi Gallery in Florence. A good example of 17th century British portraiture...

This very interesting 18th/19th century Dutch oil painting is attributed to circle or follower of Bernardo Bellotto who was renowned for painting elaborate representations of archite...

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...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

This superb Dutch Old Master floral still life oil painting is attributed to circle of Simon Pietersz Verelst. Painted circa 1700 the compositio...