Paulus Moreelse (follower of)

17th century Dutch painting - The fruit vendor - lady with a fruit basket - Love

18th century Italian Old Master painting This arresting painting depicts an owl with his prey, it is truly exquisite and captivating work of art. The owl has been painted majestical...

18th century French Rococo portrait of a young noble lady This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...

Italian Old Master painting depicting the coronation of a female martyr Saint, presumably St. Agnes of Rome Agnes of Rome is a virgin martyr, venerated as a saint in the Catholic Church, Oriental Orthodox Church and the Eastern Orthodox...

Arresting 18th century German Old Master painting by Balthasar Denner. The painting comes with an expertise by Dr. Börsch-Supan, an authority on Ge...

17th century Flemish old Master painting The present painting is truly a little jewel with its vibrant colours and skilful brushwork. It depicts the Baptism of Christ, a depiction of a tale filled with hope and positivity, it is a very fine example of Malo's talent. We would like to thank Anna Orlando for her assistance in cataloguing this painting. A copy of her entry on this painting will be given to the buyer. She writes about the present painting: The painting illustrated here, unpublished, refers to Vincenzo (Vincent) Malò, a Flemish artist active in Italy and in particular in Genoa in the first half of the seventeenth century, by now well known. The critics who started studying him in the sixties of the last century recognized the initial confusion of our painter with Vincenzo Alemanno (1595-1675); many documents subsequently traced both in the Genoese and Roman archives have partially specified his biographical details, but certainly his identity. Son of a certain Nicola, Vincent trained in Antwerp with David Teniers the Elder and then with Rubens, he was intermittently enrolled in the painters' guild, between 1623 and 1634. It is unlikely that he first arrived in Genoa in 1625 , when the city was at war against the Savoys, and it is entirely probable that his stay in Italy fell between 1634 and the year of his death, documented in Rome in 1644. It were about ten fertile years, also thanks to the lessons from Rubens who had taught him to paint speedily...

Rare late 16th century Spanish Old Master portrait of a young lady This fine, life-sized portrait depicts a young lady holding a red flower. She is wearing an elaborate and highly luxurious costume which is adorned with some very expensive jewels, such as the, golden bracelets and rings and the long pearl necklace and earrings. Given that pearls were a highly prized and expensive possession at the time, the large amount of them in this portrait emphasise the sitters' social status and wealth. The costume that our young lady is wearing can be identified as a Spanish court...

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

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

The sitter is Mary Charlotte Anne Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

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...

‘A Montenegrin Girl’ by Nathaniel Sichel (1843-1907). This large fine 19th century oil on canvas is signed by the artist and hangs in a superb quality carved and gilded Orientalist frame...

This atypical and terrifying painting by Jean-Frédéric Schall depicts the torture of a vestal virgin, condemned to be buried alive for having broken her vows. Dressed in a contempora...

‘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...

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 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...

Possibly painted by the young Jusepe de Ribera c. 1620-30 A Holy Monstrance Surrounded by Putti We would like to thank Mr David M. Stone and Nicola Spinosa for examining the paint...

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

Follower of Giovanni Paolo Castelli (Rome, 1700 ca.) - Still life with swallow. 64.5 x 88.5 cm without frame, 76 x 101 cm with frame. Oil ...

This extraordinary painting of a human skull and ripe fruit is created in the 16th or 17th century Dutch style. Vanitas paintings are a unique genre in which symbols of death are painted as a reminder of the transience of life, the futility of pleasure and the inevitability of our finality. Here the skull is juxtaposed against a ripe pomegranate bursting with life. This artwork is framed in an ornate heavy wooden frame. The framed dimensions are H 14.5 x W 16.5 inches. Matthew Cook...

Still life with fishes and oysters is an original oil on canvas realized in the 17th Century by Neapolitan School Master. Impressive in size as well as for its vivid representation o...

19th Century Continental School A study of a saint Medium ; oil on panel Size: 26" x 12" inches

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