Paintings

Nicolas LOIR (Paris, 1624 – 1679) Penitent Saint Mary Magdalene Oil on canvas, 58 x 71 cm Unsigned Circa 1665–1675 Trained under Simon Vouet and later Sébastien Bourdon, Nicolas ...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

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 approaching ruins on their left. Beyond is a river snakes through the landscape, beneath the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting...

Herman Saftleven the Elder (Rotterdam 1609 - Utrecht 1685) workshop Winter Landscape with the City of Utrecht Oil on canvas 81 x 65 cm. - framed 105 x 91 cm. The painting depicts a...

19th century oil painting Highland Pony and Retriever, Robert cleminson. A fine painting depicting a Highland Pony and Retriever, with the days bag. An oil on canvas, signed lowe...

Nicola Maria Rossi masterfully captures the biblical tale of Rebecca and Eliezer at the Well, a story from the Book of Genesis. In this scene, Abraham’s servant, Eliezer, arrives at ...

Topers in Deep Conversation Dutch School, mid 17th entury circle of David Teniers (Dutch 1610-1690) oil on canvas canvas: 8 x 7 inches provenance: private collection, France conditio...

Mythological Figures in Classical Sunset Landscape French School, 17th century oil on canvas, framed framed: 20 x 23.5 painting: 13.5 x 17 inches provenance: private collection, Engl...

A Rare and Significant Discovery. We are pleased to offer this newly discovered vanitas still life by the enigmatic German artist Johann Andreas von Düwens (?-1716). Titled "Vanitas...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

Martin van Meytens (Stockholm 1695 - Vienna 1770) Portrait of Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) Portrait of Emperor Francis I of Lorraine (1708 - 1765) oil on ...

Los Angeles street artist Gary John exploded onto the international art scene during the Art Basel Miami art fair in 2013. John’s playfully bold work quickly gained attention and he ...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

Artist: English School, early 1800's, circle of John Constable (British 1776-1837) Title: The Woodland Path Medium: oil on canvas, framed, unsigned Size: 12 x 22 inches Picture: 9 x 18 inches Provence: from a private collection in East Anglia...

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

Portrait of an Elizabethan Gentleman in a Black Doublet c.1595 Manner of Hieronimo Custodis (died c.1593) Oil on copper Unsigned This exquisite oil on copper portrait, painted around 430 years ago, is a splendid survival from the Elizabethan era - the golden age in England’s history, when Queen Elizabeth I was on the throne. It is a time that is sandwiched between two golden ages of English renaissance culture, the reigns of Henry VIII and Charles I. This period produced a style of painting quite unlike that anywhere else in Europe and one that deserves serious assessment. Just a couple of years after our portrait was painted, English painting developed on another course, driven mainly by the artists Marcus Gheeraerts the Younger and Isaac Oliver; they depicted a new mood that was pervading Elizabethan and Jacobean society, which was that of romantic melancholy. Elizabethan painting...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

La obra no va firmada, es de autor anónimo El estado de conservación es aceptable, pero en la zona de la cara, presenta algunos desgastes (ver fotografías adjuntas) Se presenta sin...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

A beautiful 19th century copy by Giuseppe Rocchi of Baldassarre Franceschini's Sleeping Cupid, presented in a very attractive gilt frame with hand carved mouldings. A very peaceful i...

Unique hand painted with acrylic paint color screen print on 300 gsm somerset paper. Paint adds around 5mm of height to the print. Hand signed and dated lower right corner by Shane Turner...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame 53 x 44 cm. It is easy to identify the sitters of this charming pair of portraits in the rulers of France, namely Louis XV of Bourbon, who ascended the throne in 1715 at the age of just thirteen and was nicknamed the 'Beloved', and Maria Leszczyńska, Queen Consort of France and Navarre and daughter of the King of Poland Stanislaus I. The queen is depicted in a three-quarter-length figure, her face smiling and turned towards the spectator. She wears a wig in shades of grey with her hair gathered around the nape of her neck and a diadem on her head, and pendants on her ears. She wears a dress with a wide neckline made of red velvet, brocaded with gold threads, with rich lace sleeves, and a bodice adorned with a jewelled bodice of diamonds and pearls. On the shoulders rests a blue velvet mantle embroidered with the heraldic...

The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

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

After Bartolome Esteban Murillo (Spanish, 1618-1682), "The Little Fruitseller", Oil on Canvas, 19th century, apparently unsigned, depicting young girl and boy counting money over var...

This original circular portrait painting is part of Natasha Lelenco’s Currencies series and features a hyperrealistic female profile against a vibrant yellow background. Titled Currency #130, the piece combines figurative painting with symbolic text, forming a dialogue between identity, migration, and memory. The painted...

Portrait of the Princess of Conti - Attributed to Louis Ferdinand Elle the Younger (1648-1717) Late 17th century French school Oil on canvas, h. 100 cm, l. 80 cm Important Louis XIV ...

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...

Erasmus Quellinus II (Antwerp 1607 - 1672) Vanitas (as an Allegory of the Vanity of Life or of Youth) Oil painting on canvas - cm. 121 x 84, in the frame cm. 135 x 98 The work is a...

This elegant English 19th-century portrait of a young boy dressed in a Cavalier costume, painted circa 1860, is a striking example of Victorian portraiture that seamlessly combines h...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

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...

Pietro della Vecchia (Vicenza, Italy, 1603 – Venice, Italy, 1678) Title: Bacchus and Ceres Medium: Oil on canvas Dimensions: without frame 109 x 130 cm – with frame 128 x 152 x 8 cm...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Venetian School, early 17th century Portrait of a knight in armour The inscription at the top, ‘MAR...DIT...VICO’, is only partly legible Oil on canvas. 81 x 71 cm. - Framed: ...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

This exquisite 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

10 color screen print on coventry rag 290 gsm paper with deckled edges. Hand signed and dated lower front by John 'Crash' Matos. Hand numbered 6/50 lower left front. Artwork size ...

Giuseppe Molteni (Affori (Milano), Italy, 1800 - Milano, Italy, 1867) Title: Portrait of a Woman Medium: Oil on canvas Dimensions: without frame 67 × 55 cm - with frame 91.5 x 80 cm ...

Escuela Española siglo XVIII Se trata de un óleo sobre tela representando a San Juan Bautista Se presenta sin enmarcar la obra Medidas: 104 x 83 cm. El estado se puede ver, pres...

Tiberio Titi (Florence, Italy, 1573 – 1638) Title: Portrait of a Gentleman Medium: Oil on panel Dimensions: Without frame 122 x 91 cm – with frame 162 x 133 x 10 cm Publications: G...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Gaspard Dughet, called Gaspard Poussin (Rome 1615 - 1675) - attributable to Wooded landscape of the Roman countryside with the Archangel Raphael and Tobiolo oil painting on canvas second half of the 17th century (cm.) 75 x 98, with frame 91 x 115 On the back old label inscribed "Monte dei Paschi di Siena" The painting has characters clearly linked to the Roman culture of the seventeenth century and, in particular, to the works of Gaspard Dughet, an author who was able to achieve surprising results in describing the Lazio countryside with a unique grace and sensitivity. Brother-in-law of Nicolas Poussin, of whom he was a pupil, Dughet is to be considered among the most important landscape painters of the Roman Baroque, highly sought after and celebrated by the aristocracy, a reference model for the artists of the following generation, such as Crescenzo Onofri, Jan Frans van Bloemen and Andrea Locatelli...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

Abraham Janssens (Antwerp, Belgium, 1573 - Amsterdam, the Netherlands, 1632) Title: The Gypsy Medium: Oil on canvas Dimensions: without frame 116 x 94 cm – with frame 148 x 122 cm Co...

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

Flemish Mannerist painter Early 17th century Portrait of Hermes Trismegistus (Egyptian alchemist who lived in the 13th century BC) Oil on panel 41 x 33 cm In antique frame 51 x 43 cm The work belongs to a series of three paintings, together with portraits of the alchemists Geber and Morieno Romano The painting depicts an alchemist, an ancient figure who has always been shrouded in fascination and mystery due to his perfect blend of science and esotericism, who sought to achieve omniscience, or the highest level of knowledge in all fields of learning. Among the great goals of alchemy was the search for the elixir of eternal life or the transformation of base metals into gold, a practice that was believed to be achievable through the “philosopher's stone”. The alchemist, with his secret practices and knowledge, is therefore a figure described as straddling the line between scholar and magician, capable of extraordinary transformations, well represented here by a Flemish Mannerist painter active between the 16th and 17th centuries. In our case, it is, in particular, the portrait of Hermes Trismegistus, a legendary figure from the Hellenistic age, sometimes considered a deity (identified by the Greeks with the Egyptian god Thoth) and sometimes a man, considered the founder of alchemy and the master of all occult sciences, as well as of the philosophical current known as Hermeticism. Venerated as a master of wisdom, he is believed to be the author of the “Corpus Hermeticum”, a collection of writings, mainly in Greek, containing philosophical, theological and magical teachings, considered to originate from ancient wisdom. The alchemist holds an unrolled parchment in his hand, on which we can read the phrase “quod est superius est sicut quod inferius et quod inferius est sicut quod est superius”, taken from the Emerald Tablet...

After Raphael Conestabile Madonna 1483 - 1520 Oil on canvas Image size: 8 x 8 inches (20.5 x 20.5 cm) Original ornate hand carved gilt frame Conestabile Madonna Made in compositiona...

This charming French Old Master oil painting is by noted French artist Philippe Budelot. Painted circa 1800 the composition is of figures on a woodland path by a lake. In the foreground is a drover on horseback with some cattle and a goat. They are being greeted by the sheep dog of the shepherdess behind them who has sheep scattered amongst the trees. More figures are coming along the path in the distance. The group in the foreground are well illuminated beneath the blue sky above and it is probably early morning. The brushwork on the trees is superb and the whole scene is quite charming. This is an excellent example of a French Old Master landscape...

Giovanni Giacomo Sementi (Bologna, Italy, 1580 - Rome, Italy, 1636) - Pier Francesco Cittadini (Milan, Italy, 1616 - Bologna, Italy, 1681) Danae Oil on canvas, without frame 119 x 179 cm, with frame 140 x 200 x 12 cm, weight 35 kg Expertise by Professor Giancarlo Sestieri Publications: Carne - la materia dello spirito, exhibition catalogue curated by Father Alessio Geretti, project of the scientific catalogue curated by Father Alessio Geretti, Nicole Pravisani and Giulia Toffoletti, (21 May - 22 October 2023), Illegio, Casa delle Esposizioni, pp. 56-59; Body, Love and Feelings - Works of Ancient Masters from the 16th to the 19th century. In the paintings of Giorgio Baratti private collection, Milan, exhibition catalogue curated by Alessandro Marchi, (27 July - 18 September 2011), San Marino - Historical Centre, pp. 38-39; Giorgio Baratti Collezione. Selezione di opere d’arte antica (Giorgio Baratti Collection. Selection of ancient works of art), curated by Professor Giancarlo Sestieri and with the participation of Professor Andrea Emiliani, Grafiche Veneziane, Venezia 2011, pp. 22-23. It is a gentle and graceful Danae the one portrayed by Giovanni Giacomo Sementi. A painting in which the Milanese painter Pier Francesco Cittadini also collaborated by painting the golden basin filled with flowers to the left of the scene. The work shows various pictorial influences; from the Bolognese Emilian style, to that of Ludovico Carracci (1555 - 1619) and Guido Reni (1575 - 1642), to the Baroque and Roman style. The work features an elegant red drapery which serves as the background to the entire scene, but the real protagonist is the young woman with long red hair who is lying on a bed covered by a white sheet. The girl is naked except for a lapis lazuli blue mantle...

Diana The Huntress and her Cherubs Northern European artist, circa 1680's period oil on canvas, unframed canvas: 20 x 60.5 inches provenance: private collection, UK condition: some p...

We would like to thank Dr. Ursula Härting for confirming that this painting belongs to the studio of Jan Brueghel the Younger, by means of a certificate issued on December 12, 2024. ...

Anthoon van Dyck (Antwerp 1599 - London 1641) workshop Christ Carrying the Cross - 17th century Oil on canvas (120 x 94 cm - framed 140 x 112 cm). This remarkable canvas, depic...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...