18th century Italian Old Master painting - An Owl with his prey - Bird Hunt

Adorable 18th century old Master portrait painting of a young girl with her dog Our sitter is smiling joyfully at the spectator, ...

19th century Scottish countryside landscape painting depicting Doune Castle This peaceful painting depicts Doune castle in the Highlands countr...

19th century romantic oil painting fishing at sunset The painter of the present work was active in Sweden around 1900, he specialised in romantic depictions of fishermen and women i...

Adorable oil painting depicting a mother cat playing with her kittens painted in 1912 by a follower of Henriette Ronner-Knip Henriëtte Ronner-Knip...

Victorian countryside landscape "Sweet childhood memories", 1905 This peaceful painting depicts young children playing in the peaceful English countryside on a lovely summer day, in...

Bay Middleton was a bay colt, bred by the Earl of Jersey in 1833, his fine hind-quarters, wicked style of head, and arched neck may be traced in many of his descendants. No horse (says “The Druid”) that Mr Herring ever painted, impressed him so firmly in the belief that this distinguished son of Sultan possessed both the heart and muscular power to do what he liked with any horses opposed to him. Bay Middleton's Performances - 1836 At Newmarket Craven, 8st 7lbs (then described as Brother to Nell Gwynne), ridden by J. Robinson, won the Riddlesworth, of 200 sovs. each, h.ft., twenty-two subscribers, beating in the commonest of canters Mr Walker’s ch.f. Emineh, by Sultan, 8st 4lbs, Mr Houldsworth’s ch.f. Destiny, by Sultan, 8st 4lbs, b. c. Ermine, by Emilius, and b. c. Magician, by Zinganee. Until this event, the Brother to Nell Gwynne (afterwards named Bay Middleton) had the credit of being a bad-tempered horse, but it was now discovered that he was merely a horse of very high courage, a fine, slashing, muscular, clean-limbed, racing-like nag. S. mg., w. o. for £150. At Newmarket (First Spring), 8st 7lbs each (Robinson), won the 200 Guineas, beating Lord Lichfield’s ch. c. Elis, by Langar, second, Lord Berners’ ch. c. Brother to May Day, by Lamplighter, third, the Duke of Grafton’s b. c. Calmuck, by Zinganee, fourth, Lord Exeter's b. c. Muezzin, by Sultan, and ch. c. Whaley, by Langar 6 to 4 on Bay Middleton, and 5 to 2 against Elis. At Epsom (Robinson), won the Derby, of £3475, beating Lord Wilton’s ch. c. Gladiator, by Partisan (W. Scott), second, Mr J. Day’s b. c. Venison, by Partisan (j. Day), third; also Colonel Peel’s b. c. Slane, by Royal Oak (A. Pavis), and his b. c. Mr Waggs, by Langar (Nat), Mr Wm. Chifney's b. c. The Athenian, by Partisan (F. Butler), the Duke of Richmond’s br. c. Sepoy, by Mulatto (F. Boyce), Lord Chesterfiled’s b. c. Alfred, by Patisan (s. Rodgers), Sir L. Glynn’s ch. c. Recruit, by The Colonel (s. Day), and thirteen others; 7 to 4 against Bay Middleton, 7 to 2 against Venison, and 11 to 1 against Gladiator. Lord Egremont’s br. c. Hock, by Chateau Margaux (G. Edwards), took the lead, followed by Muezzin (P. Conolly), Sepoy, Slane, Venison, Recruit, and Mr Waggs. The pace was moderate to the top of the hill, where Hock resigned the lead to Muezzin, Slane being now third, and Bay Middleton lying in the centre of the ruck. Before reaching the furzes, Slane went in front, forcing the pace at his best, followed by Venison. Muezzin (Conolly), and Gladiator. In this order they came round Tattenham Corner...

Exceptional late 18th-century English landscape. Very much in the style of the Dutch 17th-century old masters, this painting has all the quality and delicate brushstrokes of that pe...

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...

Pieter Mulier known as the Cavalier Tempesta (Haarlem 1637 - Milan 1701) The people of Moses after the crossing of the Red Sea oil on canvas, 90 x 135...

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...

This exquisite portrait of a gentleman depicted in a sumptuous black doublet 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...

This spectacular large portrait, presented by Titan Fine Art, was painted in 1714 when the artist was at the height of his artistic power. It is signed and dated by Schmutz (R. Schmutz p. 1714) and is an extremely rare and important addition to the little-known oeuvre of the artist, and further still, a wider knowledge of the artists that were active at the turn of the 18th century in England. The fact that there are successful engravings after portraits by Schmutz, such as the half-length portrait of the Comedian William Penkethman, created in 1709 further enhances the fact that he was an artist painting celebrated depictions of significant sitters. The discovery of this work may now lead to further research into Schmutz’s oeuvre. Meticulously rendered, the sitter is wearing a pink dress, holding a basket of fruit, whilst a parrot rests in her left hand. The beautiful arrangement of flowers in the urn was likely painted by another artist who specialised in floral painting – collaborations such as this were common. The painting abounds with ingenious flourishes and demonstrations of the painter's skill and superior pictorial technique. The graceful pose, sumptuous costume, rich colour, and brilliant technique are distinctive features of this portrait and it was a type that was in great demand during the 18th century, as it is today. Johann Rudolf Schmutz was born in Regensperg, Switzerland in 1670 and trained under the artist Mathais Füssli. At first Schmutz focused his training on historical paintings however quickly seeing that he was better at portraiture, which was also more profitable, he focused his study on this genre. Schmutz had heard of the success Sir Godfrey Kneller (1646 – 1723) was having in London and therefore left Switzerland to try and rival Kneller’s society portraits in Britain. Although few works are known by Schmutz, he was said to have been a success, and perhaps if he had lived longer, he may have been able to rival some of the great Court artists. His focus was on female portraiture, which is epitomised in this example, showing an elegant reclining female figure. By the turn of the century, this format of portraiture had become popular and similar examples can be seen by the artists Maria Verelst and Michael Dahl, often repeating the composition. By Schmutz’s death in 1715, he had a studio practice in Covent Garden where he was training the young John Ellys (1701 – 57), who went on to succeed Philip Mercier as the principal painter to Frederick, Prince of Wales. In comparing this portrait with the work of Ellys it is clear to see the inspiration taken, with similar compositional format and flesh tones. Held in an impressive Kent style carved and gilded antique frame with egg and dart motif. Provenance: Property of Beatrice Nellie Gillison Stayner (1912-1988) of The Grange...

Anthony Palamedesz (Delft 1601 - Amsterdam 1673), workshop Merry company in an interior oil on canvas, 60 x 82 cm, framed 81 x 104 cm. The scene tha...

‘Regina dei Fiori’ by Frédéric Soulacroix (1858-1933). The painting – which depicts an aristocratic Italian beauty sitting beside a porcelain va...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would ...

The Lamentation Of The Death Of Christ, 17th Century follower of Pier Francesco Mazzucchelli (1573-1626) Fine huge 17th Century Italian Old Master depiction of the Lamentation at t...

Italian 17th Century The cat and the canary Oil on canvas 37.1/4 x 50 in. (94.6 x 127.5 cm.)

Artist/ School: Italian School, 20th century Title: Grand classical still life composition with tulips, ornamental bird against a background of st...

The story of the King Beetle in Matthew Cook's painting of the same name comes from a parable told by Bawa Muhaiyaddeen to illustrate different religio...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower r...

Outstanding late 17th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover...

Flemish School, c. 1700 A Hunting still life Oil on canvas Canvas Size 34 5/8 x 46 1/16 in (88 x 117 cm)