18th Century and Earlier Figurative Paintings

French School, 18th century oil on board, framed framed: 11 x 8.5 inches board: 9.5 x 7 inches provenance: private collection, UK condition: the painting requires restoration as has ...

Flemish School, 17th Century Mary Magdalene oil on copper 17th century plate dimensions 23 x 17 cm frame 27 x 22 cm Restored by professional art conservator 2022. Provenance: ...

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 Grape Harvest Flemish/ Dutch School, 17th century oil on wood panel panel: 13 x 16 inches provenance: private collection, Belgium condition: very good and sound condition

Oil on panel Image size: 16 x 13 1/4 inches (41 x 34 cm) Early gilt frame Saint Sebastian was a Roman centurion who converted to Christianity and, in punishment, the Roman Emperor D...

Nude Figures in Wooded Landscape French School, 17th century oil on wood panel, framed framed: 25.5 x 21.5 inches board: 20 x 15.5 inches provenance: private collection, France condi...

Ascension Day in Venice 17th century Antwerp School Attributed to Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 19.68 in, w. 34.25 in Flemish style frame in ebonized ...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Oil on Canvas. The canvas recounts the miracle of Soriano: in this locality in Calabria, the Madonna with Mary Magdalene (recognizable by the jar of ointment) and Catherine of Alexa...

Circle or Follower of David Teniers, Peasant in a Tavern Inn, drinking and smoking. Oil on canvas, Framed: 39 x 47 cm. Typical Flemish Baroque Interior...

17th Century Dutch School" 17th century Dutch school. Marine in heavy weather. Oil on canvas. High. : 38.5 cm - Width. : 58cm

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

'Napoli' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Concordia Maritale (harmonious marriage) Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches o...

Italian painter (18th century) - Street theatre. 74.5 x 62.5 cm without frame, 86 x 73.5 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report:...

Shepherds in Field German School, late 17th century circle of Philipp Peter Roos (1655-1706) oil on canvas 19 x 31 inches, unframed provenance: private collection, France condition: ...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

Oil on Canvas. The mythological subject that portrays together the two deities symbolize profane Love, has been extensively illustrated in art: as in this work, Venus is usually d...

Judith Beheading Holoferne is an oil painting made by Giovanni Raffaele Badaracco, mid-17th Century. Oil on canvas, cm. 102x75.. Very good condition. Prov. Sotheby's, Amsterdam,...

Olio su tela. Scuola italiana del XVII secolo. I due dipinti fanno probabilmente parte di un gruppo raffigurante le quattro virtù cardinali, ovvero Giustizia, Prudenza, Temperanza e ...

Work on canvas

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...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

Oil on Canvas. It is a traditional depiction of the event of Jesus' death on the Cross, with his mother Mary and beloved disciple at the foot of the Cross, contemplating the dying C...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

Circle of George Morland (British, 1762/63-1804) A horse at an encampment With added signature `G Morland’ (lower left) Oil on board 12 x 16 in. (30.5 x 40.7...

The Hunting Party German/ Italian School circle of Philipp Peter Roos (German 1655-1706) oil on canvas, unframed 19 x 31 inches provenance: private collection, France condition: good...

Duomo of Milan with peasants is a modern artwork realized by an Italian Artist in 18th century. Mixed colored oil on canvas 40x33cm with frame included. Good conditions.

Oil on oak panel Image size: 20 1/2 x 23 1/2 inches (52 x 60 cm) Hand made frame Herri Met de Bles, also known as Henri Blès, Herri de Dinant and Herry de ...

Italian painter (17th century) - Port landscape with figures. 65.5 x 95.5 cm without frame, 73.5 x 107.5 cm with frame. Oil on canvas, in a wooden frame. Condition report: Lined c...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

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...

Work on canvas Golden wooden frame 64 x 82.5 x 7 cm

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Circle of Godfrey Kneller (German, 1646 – 1723) Amelie Sophia von Wendt as Aphrodite in the judgement of Paris, later as King George II’s Courtesan, bestowed the title of the Countes...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

18th century French school in the manner of Simon-Mathurin Lantara. Seaside landscape with a vaporous and fine tone and a great lightness of touch. O...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Flemish or Italian school of the 17th century Circle of Denys CALVAERT Oil on canvas 40 x 29.5 cm (52 ​​x 43 cm with frame) Old label on the back ("N°9") Very nice 19th century frame...

A finely painted picture, possibly of the penitent Mary Magdelane, painted in oil on to a copper plate and dating to c1750. Condition Two old touch ins, tiny chip to the forehead...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

French school of the late 18th century Jerome PREUDHOMME (Attributed to) Arras, v1735 - Paris, 1810 Oil on canvas 47.5 x 55 cm (59 x 67 cm with the frame)  Beautiful old carved woode...

Italian master (17th century) - The garden of the sorceress Falerina (from "Orlando in love"). 97 x 130 cm without frame, 111 x 144 cm with frame. Oil on canvas, in carved and gild...

French School, Rococo period original Likely to be a preparatory sketch for a larger piece. oil painting on canvas laid on board, framed framed: 1...

17th century old master painting "Silenus feasting", likely studio of Sir Anthony Van Dyck Born in Antwerp in 1599, Anthony Van Dyck entered the studio of Rubens (1577 - 1640) at the age of nineteen. Quickly, the master perceives the talents of the young prodigy and makes him his first assistant. Van Dyck, for his part, has a particular admiration for the man whose name is known throughout Europe. In 1619, he was inspired by a drunken Silenus by Rubens, produced one or two years earlier for a composition on the eponymous theme. This work, now in the Dresden Museum, appears to be the first version of our painting. That work has an illustrious provenance; it was recorded in the private collection of Leopold Wilhelm (Archduke of Austria) in 1662, in 1722 it was bought by the famous German painter Antoine Pesne for the King of Saxony in Dresden (Staatliche Kunstsammlungen Dresden - Gemäldegalerie Alte Meister, Dresden, inventory number 1017). From 1945 until 1955 it was on display at the Pushkin Museum in Moskou, after having been taken by Russia after the Second World War. It was then returned to the Staatliche Kunstsammlungen Dresden where it is still on display. Our painting is of a fine quality and has been painted by a skilled and confident hand. It displays some slight variations in the composition when compared to the original; the legs of Silenus are smoother and less hairy, more humanoid than satyresque. There might also be a pentimento visible at the level of the legs where one observes traces of hair on and under the material. This area can be compared to that of a canvas by Van Dyck kept in Brussels, of a still drunk Silenus whose animal legs are formally treated in the same way as the ones in our composition. Furthermore, the skirt of the figure to the far left has a purplish-red colour in our work, whereas in the first version it appears to be white. There also appear to be differences in the sky, firstly the clouds are shaped slightly different, the sky in our painting has a more vivid colour and there is also a golden hue of a sunset visible to the far left. This treatment of the background appears close to that of a Saint Rosalie, now kept at the Metropolitan Museum in New York and dated 1625, which might offer a reference for dating our painting. In the evanescent aspect, as non finito of its figures, it is interesting to compare our Silenus to a Saint Sebastian, conserved in the Escorial Museum in Madrid. Also, the theme remains rather curious. According to Barnes and Porter, Rubens, like Van Dyck after him, was partly inspired by Book XI of Ovid's Metamorphoses, but a second literary or pictorial source remains unknown (1). For the original composition, Stephan Maaser, art historian, establishes a correspondence between the position of Silenus, referring to that of a Christ at the moment of the Lamentation or the Descent from the Cross (2); the female characters on the left and the male on the right refer more to Mary Magdalene and Saint John than to the Phrygians or the members of a bacchanalian procession. Finally, note that Silenus is not usually a faun. The success of the composition at the time of its public reception and its engraving by Franciscus van der Steen really contributed to the dissemination of the work. At the same time, it testifies to the intense activity of the painter and his studio in Antwerp, before he left to work at the English court. About Silenus: In greek mythology, Silenus was the tutor and foster-father of the wine god Dionysos, who was entrusted to his care by Hermes after his birth from the thigh of Zeus. The young god was raised by Silenus and nursed by the Nysiad nymphs in a cave on Mount Nysa. Silenus was, in essence, the spirit of the treading dance of the wine-press, his name being derived from the words seiô, "to move to and fro," and lênos, "the wine-trough." Once, when Dionysos was travelling through Phrygia, Seilenos became lost and was captured by King Midas. The king treated him hospitably and as a reward Dionysos granted him his golden touch. The artists biography: Born in Antwerp on 22 March 1599, Anthony van Dyck was the seventh child of Frans van Dyck, a wealthy silk merchant, and Maria Cuypers, who was renowned for her embroidery skills. In 1609, when he was ten years old, his parents apprenticed the precocious youth to Hendrik van Balen (1575-1632), a painter of small cabinet pictures and dean of the city's Saint Luke's Guild. Although the length of Van Dyck's stay with Van Balen is not known, it probably lasted three to four years. Van Dyck registered as a master in the Antwerp Saint Luke's Guild on 11 February 1618, by which time he was already in demand as a portrait painter (see the NGA painting, Portrait of a Flemish Lady...

Giuseppe-Maria CRESPI (1665, Bologna - 1747), circle of Dressmakers surprised at work Oil on canvas H. 35 cm; L. 23 cm This small painting, charming and of very good quality, is representative of Italian genre painting...

A Pair of Forest Landscapes with River and Boat in the Foreground Brinckmann Philipp Hieronymus Spire 1709 – 1761 Manheim Old Master Signature: Signed "Ph. Brinckm" bottom lower lef...

Abraham Teniers

Pieter Gysels, also known as Peeter Gijsels, was a renowned Flemish painter who lived from 1621 to 1690/91. He was known for his landscapes, which often depicted idyllic scenes from nature, and his works are highly sought after by Old Master collectors. We are proud to offer a newly discovered pair of landscapes attributed to him; this one called "A Wooded Landscape With Riders" This stunning painting captures the beauty of a serene summer day in the countryside. In the foreground, we see a couple riding on horsebacks, enjoying the peaceful surroundings. The horses seems to be trotting gently, and the riders are relaxed, taking in the natural splendour around them. In the distance, we see several other figures, perhaps farmers or peasants, doing their daily tasks. We also see a small stream flowing through the landscape, with several small houses. And in the background, we see a beautiful wooded area with tall trees reaching up towards the sky. The attention to detail in this painting is truly remarkable. Gysels use of vibrant colours evoke the warmth and beauty and he skillfully captured the play of light on the landscape, creating a sense of depth and atmosphere. The detailing of the cottages, the colors, the use of big-leafed plants in the foreground, and the figure types are typical of his signature style. "A Wooded Landscape With Riders" is painted on copper, which gives the painting a unique luminosity and depth. The use of copper as a support for paintings was popular in the seventeenth century. We also have one more painting called "Wooded Landscape With an Elegant Company...

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a young boy holding his pet squirrel Oil on canvas Canvas Size - 30 x 25 in Provenance Sale, Sotheby's New York, Old Master...

Roman master (c. 1650) - The Fall of Phaeton. 40.5 x 52.5 cm without frame, 56.5 x 59.5 cm with frame. Oil on copper, in carved and gilded wooden fra...

Guglielmo Caccia said the Moncalvo (Montabone, 1568 - Moncalvo, 1625) Saint Francis of Assisi comforted by an angel Oil on canvas, cm 96 x 73 - (wi...

This charming bucolic landscape bathes in a soft yellow light. A lady on horseback, accompanied by a boy on a donkey, stops near a shepherd. The herd looks at two fishers and quietly...

Circle of Bernardo Castello (1557-1629) The Holy Family with Saint John the Baptist 1600-1615 circa Oil on canvas in gilded frame Measures in cm: 84 x 63 cm (104 x 84 cm including frame) Measures in inch: 33.07 x 24.80 in (40,95 x 33,08 in including the frame) One of the most widespread iconographies in Italian painting from the Renaissance onwards, that of the Holy Family, is set in a sober and at the same time elegant interior, as the presence of the gold-edged green curtain that closes the space like a backdrop states. Whether it takes place in the intimacy of the house in Nazareth, as in the painting presented here, or it is placed outdoors, the scene includes the presence in the role of protagonists of the Madonna and Child Jesus, flanked by the protective figure of Joseph, always held a slightly aloof. In some cases, including ours, the Child is in dialogue with the little John the Baptist, thus alluding to the role played by the latter in the history of salvation, as the gesture of Jesus explicitly indicates in our canvas, who blesses the one who will be destined to baptize him in the waters of the Jordan. The 'room' dimensions, the calm religious intonation that pervades the representation, underlined by the very evident presence of the haloes, attest that the painting was conceived for the private devotion of its client and probably intended for a bedroom or for the walls of a small home chapel. The cleaning carried out in recent times allows you to appreciate the bright and lively chromatic range, orchestrated on the refined harmony between the shades of the Virgin's robes - blue and carmine red - and the bright green of the curtain that forms the backdrop to the scene. A particularly delicate pictorial drafting, well appreciated in the soft rendering of the faces and limbs of the two children - observe, for example, the suffused chiaroscuro transitions of the face of Jesus - is combined with a sensitive and tender description of the 'affects', allowing us to place this painting in the context of the painting of the Catholic Counter-Reformation and of the principles of verisimilitude and naturalness advocated by it in reaction to the expressive licenses and formal abstractions of the Mannerist figurative culture derived from Michelangelo's lesson. The return to a sober and juxtaposed pictorial language and simplified compositional schemes, often inspired by the early sixteenth century examples of Raphael and Andrea del Sarto, which we also recognize in our Holy Family, characterizes the work of numerous artists scattered throughout the various centers of the Peninsula , from the Bologna of the Carracci, to the Tuscany of Santi di Tito, to the Marche of Federico Barocci, up to Rome, Naples and Milan, where Camillo Procaccini and Guglielmo Caccia...

Joseph Badger (c. 1707–1765) was a portrait artist in Boston, Massachusetts, in the 18th century. This amazing painting depicting a young boy with a bi...

Oil on panel 17 century