Giacomo Antonio Ceruti

Portrait of a Gentleman - Original Painting Giacomo Antonio Ceruti - 1750

1750

Christian Charity is an original Old Master Painting realized in the first half of the XVII Century, most probably in the 1630s, by one of the pupils of the Italian artist Bernardo Strozzi...

Military Portrait is an original oil painting realized by Henri Valton in 1850 ca. The piece is in very good condition. Henri Valton (1810-1878)...

Sybil is an original old master artwork realized by Anonymous artist of 18th century. Oil painting on canvas. Very good conditions. Includes coeval frame (fair conditions): 71 x 4x...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

Female Portrait is an original modern artwork realized in 1922 by Emilia Bertolé. Original oil painting on canvas. Hand-signed and dated by the artist on the upper left corner: Emi...

Signed indistinctly, lower right: Musfcher f. Provenance: Private Collection, London (according to a label on the reverse) with Newhouse Galleries, New York, as Caspar Netscher with Galerie N. Karger, Caracas, Venezuela, as Caspar Netscher Acquired by the grandmother of the previous owner, and by descent; offered Christie’s, New York, 26 October 2016, lot 144, as Caspar Netscher (withdrawn) Private Collection, Pennsylvania Michiel van Musscher...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

In late 17th century Amsterdam, no one could rival Nicolas Maes (1634– 1693) in the art of portraiture. As one of Rembrandts most accomplished pupils, Maes explored both genre painti...

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

Philip Mercier (1689-1760) Portrait of Thomas Samwell of Upton Signed Ph Mercier pinxit, Ano 1738 lower right Oil on canvas Canvas size 30 x 25 in (76.2 x 63.5 cm) Framed size 37 x 32 1/2 in Provenance The Collection of Lord Hazlerigg; Sale, Sotheby's, The Contents of Noseley Hall, 28th & 29th September 1998, Lot 62; where purchased by the present owner. Literature Walpole Society, Vol 46, 1976/8 - J.Ingamells and R.Raines: A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier, No. 84 Philip Mercier was born in Berlin, the son of a Huguenot tapestry worker of French extraction who worked for the Elector of Brandenburg (later, 1701, King Frederick of Prussia). Little is documented about his early life, but Vertue tells us that he studied under the French portraitist Antoine Pesne...

‘Le Femme en Noir’ by Eugène Accard (1824-1888). This fine 19th century French full-length portrait of a young Parisienne beauty is signed by the arti...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inche...

This stunning Flemish Old Master portrait oil painting is attributed to circle of Anthony Van Dyck. Painted circa 1630, the sitter is Frances Stewart née Howard (1578 -1639) Duchess of Lennox and Richmond, Countess of Hertford. Frances was the daughter of a younger son of the Duke of Norfolk. An orphan of small fortune, she rose to be the only duchess at the court of James I of England. This is a magnificent portrait of an older Frances in her finery, multiple layers of finely depicted lace collar and cuffs stand out beautifully against her dark satin dress. The detail and delicate colouring of her face and hair is superb. A really strong stately Old Master portrait. Provenance. The Pantechnicon - Belgrave Square London Christies London - stamps verso. June 1932 and July 2001 Condition. Oil on Canvas, 45 inches by 33 inches and in good condition. Frame. Housed in ornate gilt frame, 54 inches by 42 inches and in good condition. Sir Anthony van Dyck (1599-1641) was a Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy. The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony painted from an early age. He was successful as an independent painter in his late teens, and became a master in the Antwerp guild in 1618. By this time he was working in the studio of the leading northern painter of the day, Peter Paul Rubens, who became a major influence on his work. Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. In the late 1620s he completed his greatly admired Iconography series of portrait etchings, mostly of other artists. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the archduchess Isabella, Habsburg Governor of Flanders. In 1632 he returned to London to be the main court painter, at the request of Charles I of England...

Very decorative pair of venetian portraits, Mid-XVIII Century. Probably a merchant and a nobleman. Originals venetian period frames.

Sir Allan Ramsay 1713-1784 Portrait of Joseph Benwell Oil on canvas, inscribed with sitter's name and dated 1756 Image size: 31 x 25 inches Origin...

Signed indistinctly, lower right: Musfcher f. Provenance: Private Collection, London (according to a label on the reverse) with Newhouse Galleries, New York, as Caspar Netscher with Galerie N. Karger, Caracas, Venezuela, as Caspar Netscher Acquired by the grandmother of the previous owner, and by descent; offered Christie’s, New York, 26 October 2016, lot 144, as Caspar Netscher (withdrawn) Private Collection, Pennsylvania Michiel van Musscher...

Procaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

Silvestro Noselli (Raveo 1696 - Udine 1777) - Portrait of Giovanni Leonardo Scala in 1762. 88 x 67 cm without frame, 96 x 75 cm with frame. Oil on canvas, in an antique carved wooden frame...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.