Figurative Paintings

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – was exhibited at the Society of Artists Exhibition in London in 1790 and is sold with detailed provenance going back over 230 years. Such is the painting’s quality that for over 150 years it was thought to be by Joseph Wright of Derby (1734–1797) and was exhibited as such on many occasions alongside many of Joseph Wright’s paintings then in the important private collection of Lord Belper of Kingston Hall. This contemporary view of London in the late 18th century is seen from One Tree Hill in what was once the Great North Wood three miles south-east of the capital; prominent amongst the dozens of famous landmarks of Georgian...

"The Trip" conveys not only the physical journey of the woman on the scooter but also a metaphorical journey of self-discovery and adventure. The painting evokes a sense of wanderlus...

This enchanting 18th-century French fête galante captures the elegance and joy of aristocratic leisure, set amidst a lush garden adorned with flowers. A scene of refined celebration,...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

James Seymour (1702-1752) & Thomas Spencer (1700-1753) An elegant lady and gentleman hare coursing in an extensive landscape Oil on canvas Canvas Size - 33 x 50 in Framed Size - 41 x...

Shipping Procedure Ships in a well-protected tube from Nigeria. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery). At the heart of the artwork lies a young woman adorned in a striking red dress. The choice of red as the dominant color symbolizes strength, passion, and confidence. It serves as a visual representation of the artist's intention to empower and embolden the subject, inspiring viewers to embrace their own identities unapologetically. The woman in the red dress becomes a beacon of self-assurance, encouraging others to fully express themselves without fear or hesitation. "Here I Am" encapsulates the essence of celebrating one's individuality. The young woman's presence demands attention, her confident stance serving as a powerful statement of self-acceptance. The artwork encourages viewers to embrace the unique attributes, quirks, and qualities that make them who they are. It celebrates the beauty of diversity and underscores the importance of allowing oneself to shine authentically. Kayimahe Ishmael Zed...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

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...

Madonna with Child and Red Drapery, Flemish School, Oil on Oak Panel, 17th Century Flemish School, 17th century Technique: oil on oak panel with 4 crossbars Dimensions: Height: 43...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

Artist/ School: French School, 19th century Title: Classical Landscape with figures amongst ancient ruins. Medium: oil painting on canvas, unframed. canvas: 24.5 x 36 inches P...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

'Market Day in Piazza Grande, Locarno, Switzerland', oil on board, by unknown artist (1947-48). Locarno is an utterly charming Italian-speaking resort located on the northern shore o...

Land battle - Antonio Savisio Italia 2006 - Oil on canvas cm.60x90. Gold leaf gilded wooden frame cm.92x122 Maestro Antonio Savisio drew inspiration from the masterpieces of the gr...

Gracious ballerina, in a moment of silence and meditation. Part of my "Nude in Interior" series Original painting, one a kind. No need for frame. Shipping directly from the artist's studio, stretched, wide stretcher. 15.7x15.7x2in / 40x40x5cm Free shipping special! "As a woman artist I’ve been preoccupied with the female form and imagery. My goal is to capture the nude’s relation to the surrounding space and the solitary moments. My interest turned from depicting the space to depicting the atmosphere, and the feeling a woman adds to the environment: warmth, joy, a feeling of power and control, or the opposite – sadness, despair. The human figure is more present than ever in my paintings." Paula Craioveanu

A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

Title: Cape Maneuver Artist: José María Tuser Vázquez (Barcelona, 1919 – 1986) Technique: Oil on canvas mounted on board Dimensions: 19.7 x 23.6 in (50 x 60 cm) Date: Circa 1980s Signature: Signed "Tuser" in the lower left corner Condition: Excellent; thick, vibrant brushwork and vivid colors well preserved. 📝 Description This painting captures a dramatic moment in the bullfight — the classic verónica — as the matador gracefully halts the bull’s charge with a sweeping motion of the cape. The vivid contrast of magentas, blues, and golds intensifies the theatrical tension between man and beast. The composition is dynamic yet controlled, emphasizing the poise of the torero against the raw force of the bull. The expressive brushstrokes and thick impasto enhance the sense of movement, while the abstracted background ensures focus remains on the central figures. The piece is a striking blend of figuration and emotional energy, characteristic of Tuser’s taurine works. 👤 About the Artist: José María Tuser Vázquez José María Tuser Vázquez was a Spanish painter born in Barcelona in 1919. He studied at the Barcelona School of Arts and Crafts and began exhibiting in the 1940s. By 1947, he had fully devoted his career to bullfighting scenes, developing a distinctive figurative expressionist style with impressionist influences. He collaborated with the magazine El Ruedo, creating numerous illustrations and covers, and designed collectible postcards for Editorial Artigas. His work became well-known in Spanish artistic circles and is now part of both private and institutional collections, including the Club Taurino of London. His paintings have been auctioned internationally, reaching up to $3,000 depending on size and subject. His legacy is that of a painter who masterfully captured the emotion, tradition, and drama of the Spanish corrida. 🎨 Similar Artists José María Tuser Vázquez’s work shares thematic and stylistic elements with: Roberto Domingo – A pioneer of bullfighting art...

Work on canvas Black wooden frame 37 x 45 x 3 cm

Jean Jansem (1920-2013) La salle de répétition de l’Opéra de Paris, 1968 Huile sur toile Signée en bas à gauche 130 x 195 cm Provenance: Wally Findlay Galleries, New York Bibliographie: Cette oeuvre est enregistrée dans les archives de l’Association des Amis de Jean Jansem. Figurera dans le catalogue critique de l’oeuvre de Jean Jansem actuellement en préparation par l’association des amis de Jean Jansem Historique: 1964: c’est l’inauguration du nouveau plafond du Palais Garnier par Marc Chagall commandé par André Malraux alors ministre chargé des affaires culturelles. Commande qui fera couler beaucoup d’encre entre les partisans du modernisme et les tenants du conservatisme. Malraux tiendra bon, si ce n’est une légère concession: pour éviter de détruire l'ancien plafond et son décor, il sera masqué par une toile amovible de quelques 240m2 réalisée par Chagall dans les ateliers des Gobelins puis tendue par-dessus. Cette commande, autant acte politique que intellectuel, intervient à une époque où Malraux, convaincu que l’art contribue au rayonnement international de la France, soutiendra notamment les commandes du Mobilier national dont Pierre Paulin sera l’une des grandes figures, et où la CGT (Compagnie générale transatlantique) lancera un de ses plus gros chantiers avec le mythique paquebot France...

'Calvary' by Pietro Sassi (1834-1905). This monumental exhibition oil painting – which depicts the Light of Heaven shining upon Christ at Calvary with thousands of people outside t...

This superb Italian 17th century Old Master religious portrait oil painting is attributed to circle of Bartolomeo Schedoni. Painted circa 1610 it is a portrait of the Holy Family. Ma...

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

The Card Players Flemish Old Master, 17th century based on a version (in reverse) of a painting by Cornelis de Vos (Flemish 1584-1651) oil on canvas, unframed Canvas: 39 x 62 inches ...

This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

The Battlefield of Waterloo English School, 19th century original oil painting on canvas, framed canvas: 12 x 15.5 inches framed: 17.5 x 20.5 inches condition: overall very good and presentable, some former restoration and signs of retouching visible. provenance: from a private collection A very rare and historically important early painting, depicting the Waterloo battle...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Attributed to Antoine Felix Boisselier (19th Century) French 'Classical figures in a bed chamber Medium: oil on canvas, with inscription verso Size of pain...

Italian painter (19th century) - Satirical allegory of the papacy and Austrian empire. 28.5 x 24 cm without frame, 32 x 26.5 with frame. Oil on panel, in gilded wooden frame. Cond...

Country scene - Oil on canvas cm.80x120, Giovanni Santaniello, Italy 2002 Gold gilded wooden frame available on request The painting by Giovanni Santaniello depicts a scene of return...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Ola...

This stunning Italian 17th century Old Master religious oil painting is by Baroque artist Giuseppe Bartolomeo Chari. Painted circa 1684 it is a large and vibrant oil painting of the Madonna and child. To their left is Saint Catherine and to their right four putti or cherubs look upon a sleeping Jesus. The detail in all the figures faces and hair and the colouring is just superb, especially the Madonna's sumptuous blue robe. A really fabulous 17th century religious work with previous full attribution and excellent provenance which was once attributed to Carlo Maratta (1625-1713). Provenance. With Vangelisti, Lucca, Italy, 1966, from whom acquired by the family of the previous owner, and thence by descent. Red seal stamp verso Christies April 15th 1912 Christies March 23 1956 Condition. Oil on Canvas. Image size 44 x 54 inches unframed and in good condition. Frame. Housed in an original Carlo Maratta frame, 62 inches by 52 inches framed and in good condition. Giuseppe Bartolomeo Chiari (1654-1727), also known simply as Giuseppe Chiari, was an Italian painter of the late-Baroque period, active mostly in Rome. Born in Rome, he was one of the main assistants, along with Giuseppe Passeri and Andrea Procaccini, in the studio of an elder Carlo Maratta. His father had opposed the career, but his mother, on the recommendation of a painter named Carlo Antonio Gagliani. By the age of 22, he had frescoed the lateral lunettes (Birth of Virgin and Adoration of Magi...

Outstanding English late 18th / early 19th century marine scene by one of Britain's best known and sought after painters. William (or Wiliam) Anderson (1757 – 27 May 1837) was a Scottish artist specializing in maritime and patriotic themes. He was well-regarded for his detailed and accurate portraits of ships under sail, exhibiting his works annually in London between 1787 and 1811 and then occasionally until 1834. Anderson influenced other artists, notably John Ward and others of the Hull school. Anderson's early life is obscure, but he is known to have trained as a shipwright before moving to London to become a maritime painter when he was about 30. His training served him well as a painter, providing "a practical nautical knowledge" of his subjects. He earned a reputation for "accuracy and refinement of detail" and was admired for his bright, clear colours. He worked in both oils and watercolours. He based his style on that of well-known Dutch maritime...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...

A very interesting set of five mid-20th-century Italian oils on copper. All five are classical landscape subjects and are signed Roger, though we don't know which artist with the n...

Classical Dutch Winter Scene signed, 20th century oil on canvas, framed canvas: 22.5 x 30 inches framed: 24 x 36 inches provenance: private collecti...

An incredibly atmospheric oil painting of two figures sitting chatting by a woodland stream . A rare work by this master of early 19th century English painting. A very handsome piece...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

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...

Artist/ School: Italian School, 17th century. Title: A King and Queen before court figures, amidst a classical landscape with Roman columns. Medium: oil painting on canvas, framed ...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

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...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

Moses with the Israelites before Parting the Red Sea circle of Matteo de Pitocchi (Italian 1626-1689) oil on canvas laid on board, framed framed: 26 x 48 inches canvas: 21 x 43 inche...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

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...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...

German School, 1700s The Road to Emmaus oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches) Provenance: Swedish author and artist Amel...

A Superb pair of oval portraits with full provenance. Portrait of John Wood Esq of Hollin Hall, Yorkshire; Portrait of Francis Wood. Circa 1710. Oils on canvas:29 x 24 in. Frame: 37...