Paintings

The Trading Port Italian artist, circa 1720's period circle of Michele Marieschi (Italian 1696-1744) oil on canvas, unframed canvas: 21 x 30 inches provenance: private collection, UK...

Swans Startled by Dog Flemish Old Master, 18th century oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches provenance: private collection, UK condition:...

Follower of Adriaen Coorte (1665-1707) 18th Century Still Life c1795 A sumptuous still life painting depicting peaches, grapes, plums, exotic birds and butterflies in the style of ...

Sir John Wynn, 5th Baronet Canvas Size: 50 x 40" (127 x 102cm) Outside Frame Size: 58 x 48" (147 x 122cm) Sir John Wynn, 5th Baronet (1628 – 11 January 1719) was a Welsh landowner a...

Cerchia di Marco Ricci (Belluno 1676 – Venezia 1730) – River landscape with characters. 34 x 26 cm without frame, 43 x 35 cm with frame. Oil on canvas, in carved and gilded wooden ...

Nicely painted modernist dry dock boat landscape by Karl Soderlund (Born 1962). Oil on canvas. Signed. Framed.

Circle of Peter Paul Rubens (Siegen 1577 - Antwerp 1640) The Judgement of King Solomon Oil on copper (41 x 49 cm. - with ebonised and gilded wooden frame 58 x 66 cm.) The proposed painting, executed in oil on copper, depicts the biblical episode known as the 'Judgement of King Solomon' and is taken from the Book of Kings, in the Old Testament (I Kings, 3, 16-28). The work is derived from the painting in the Statens Museum for Kunst in Copenhagen depicting the 'Judgement of Solomon', which was largely created by Rubens' workshop with some intervention by the master. The iconography of the painting was certainly made popular by the print made by the Dutch engraver Boetius Adams Bolswert (Bolsward, c. 1585 - Antwerp, 1633) now in the collection of the Metropolitan Museum. The extraordinary critical and illustrative success of the work is certain, of which several replicas and copies exist, preserved in museums and private collections: Delft, Rouen and Coutrai, Liechtenstein in Vaduz and in Seville Cathedral. The prototype for the original Copenhagen painting...

Two bouquets become one to create a lavish brightly coloured arrangement in this floral still life by Pat Service. The Canadian artist created a series of paintings in the 1990s that...

Les Andelys in the Seine Valley France Landscape Pastel Art. A fine example of the beautiful work of British 20th Century Artist, Lionel Aggett (1938-2009). Signed front and rear, fr...

Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...

A late 17th century, devotional oil showing the Virgin Mary with Jesus and St. John the Baptist. Displayed in a fine and period, hand-carved and gilt-wood frame. The Virgin cradles...

Huge late 17th, early 18th century Italian Old master - A peacock doves and a duck holding flowers in a park landscape at sunset, attr. Angelo Maria Crivelli In a peaceful park land...

Portrait of Bishop of Verona Giovanni Morosini (1719 - 1789), Italian school. Technique: oil on canvas painting, relined canvas. Late 18th century. Represents a church man. The fig...

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

Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Dutch School. Oil on canvas Dutch School. Circle of Peter Nason (Amsterdam, 1612 - 1690 The Hague). Portrait ...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

As we gaze upon at this artwork, our eyes are immediately drawn to the foreground where a comical spectacle unfolds before us. A carriage, stubbornly stuck in the midst of a ford, se...

George McClancy (1930-2014) abstract painting. Acrylic on canvas 48"H x 72"W George McClancy received a MA in painting from Catholic University in Washington DC, where he was a st...

A pretty, mixed floral bouquet fills the canvas with joyful colour in this still-life painting by Pat Service. The Canadian artist explored the traditional art form in the 1990’s but...

Colour, fresh and vivid, gives this classic still life by Pat Service a contemporary feel. A beloved bright orange silk cloth, draped over a table set with two patterned vases of col...

The artist Catherine Dammeron was born in 1976 in Wissembourg in Alsace. She made her passion for pastel drawing her job. Artist going against the current, this resident of Yonne fav...

Large 17th century Italian old master - Noli me tangere - Christ in the garden with Mary Magdalene The Italian art historian Federico Zeri has conserved a painting in his archives w...

George McClancy (1930-2014) abstract pattern painting. Acrylic on canvas 48"H x 72"W George McClancy received a MA in painting from Catholic University in Washington DC, where he ...

Antonio del Ceraiolo or 'the Ceraiolo (Active in Florence, second-fourth decade of the 16th century) Attributable The Annunciation Oil on canvas 99 x 137 cm. In a fine period box f...

Huge 17th century Old Master painting "Bacchus celebration" attributed to Niccolo de Simone The Bacchus celebration, also known as Bacchanalia, was...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

Two Brothers is a unique oil on canvas painting by contemporary artist Valérie de Sarrieu, dimensions are 83 cm × 116 cm (32.7 × 45.7 in). The artwork is signed, sold unframed and c...

William III of England, Prince of Orange, workshop C. Netscher (The Hague, 1668-1723) Late 17th c. Dutch school Oil on canvas, dimensions: h. 31.49 in, w. 24.80 in Giltwood and carve...

Still life , blue, yellow , orange ,Russian art,Lemon, Published in a monographic catalogue Maya kopitzeva’s works have been acquired by the Russian Ministry of Culture, by the Foun...

Portrait of Louis XV, King Of France, 18th Century follow of Pierre Mignard (1612-1694) Large circa 1720 portrait of Louis XV King Of France, oil on canvas. Excellent quality and c...

Admired for their lush beauty, the peony, an ancient flower is celebrated in this charming floral portrait by Pat Service. The Canadian artist is known for her intuitive sense of col...

Still Life Of Flowers & Fruit In A Glass Vase Upon A Stone Mantle, 19th Century by Jan D DE HEEM Large 17th century Dutch Old Master still life study of various flowers and fruit ...

Portrait Of Sir Oliver Cromwell (1599-1658) SIR PETER LELY after (1599-1658) SIR PETER LELY Large 17th Century portrait of Sir Oliver Cromwell in armour, oil on canvas. Depicted in...

17th century German portrait of the wine merchant Caspar Roemerskirchen at the age of 26 in 1628, attributed to Gottfried de Wedig This highly decorative portrait depicts the 26 yea...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Panel 1 (with boats below arch): 50x37cm; 60x47cm (framed) Panel 2 (with cliffs): 44.5x34cm; 54x44cm (framed) These panels are fine examples of the scagliola technique, perfected by...

This portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...

A beautiful mid 17th century Flemish Old Master oil on panel depicting figures in a tavern interior by Anthonie Victoryns. Excellent quality early F...

Willem van Nieulandt the Younger, the son of Adriaen van Nieulandt the elder, was born to a family of artists from Antwerp. They moved to Amsterdam in 1589, after the Siege of Antwer...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

The Drunk" is an oil on panel painting created by Dutch school student. This artwork provides viewers with a captivating glimpse into the past, offering a detailed and vivid portraya...

The Painting is Signed Description: Fabbio Fabbi (1861-1946) was an Italian painter renowned for his Orientalist artworks and his ability to capture the beauty and allure of Eastern...

Francesco Tironi (Venice, ca. 1745 - 1797) Workshop  of View of Venice with the Grand Canal from the church of S. Croce to the church of S. Geremia c. 1770 oil on canvas, cm. 92 x 1...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

Joseph van Bredael 1688-1739 Flemish The Adoration of the Magi Oil on copper Painted on copper and exhibiting an exquisite luminosity, this exceptional painting...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

The painting represents the meeting of Jesus Christ with Saint Peter. Late 16th - early 17th century. Technique: oil on canvas. Antique wooden frame...

Titian painter (16th century - 17th century) Titian Vecellio (1488 or 1490 - 1576) Christ as Salvator Mundi with the Madonna at Prayer Oil on panel (51 x 67 cm. - with tabernacle fr...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Valuable painting depicting 'Arcadian landscape with figures along a stream and villages in the distance', attributed to Jan Frans Van Bloemen, L'Or...

Floral Composition is an Oil painting realized by Giuseppe Ingegno in 1990. Hand-signed and dated on the lower. with the label on the rear "Fondazione di Paolo" Good conditions. This beautiful colored oil paiting...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

"Evening at Singeorz" by contemporary Romanian painter Marcel Lupse is a framed oil on canvas representing a tranquil Transylvanian landscape in the e...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Giacomo Guardi (Venice 1764 - Venice 1835) - Venice, view with the church of S. Simeon Piccolo. 36 x 30 cm without frame, 60.5 x 50.5 cm with frame. Antique oil painting on wood, i...

Nude Figure Study, Standing Female Figure with Sage Green Figure study of a nude model in studio by Los Gatos, California artist M.Z. Murphy (American, 20th century), c.1990. The f...

Pierre-Antoine Demachy (Paris 1723 - 1807) Architectural capriccio oil painting on canvas 92 x 70 cm Criticism and expertise of Prof. Giancarlo Sestieri (Rome [...] With regard to ...