Old Masters Figurative Paintings

Figures in an Arcadian Landscape Italian School, 18th century follower of Claude Lorrain (French 1600-1682) oil painting on canvas: 28 x 36 inches framed: 39.5 by 47 inches presented...

Attributed to Aelbert Cuyp (1620-1691) An Equestrian Portrait of Cornelis (1639–1680) and Michiel Pompe van Meerdervoort (1638–1653) with Their Tutor and Coachman Signed 'A. Cuyp. fe...

Harbor Scene Circle of Claude Joseph Vernet (French, 1714-1789) oil painting on canvas, framed in antique gilt frame framed: 20.5 x 25.5 canvas: 19 x 23.5 inches condition: very good...

The Jewish Bridge antique Dutch School, after the 1660's oil painting by Rembrandt (Rijksmuseum, Amsterdam) oil painting on canvas, framed in its antique gilt frame with ornate mould...

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...

This historic mid-16th-century, half-length, South German School oil on panel depicts a gentleman wearing a fur-trimmed coat and black cap, while holding a small glass and, what appe...

Madonna and Christ Child French Old Master, 17th century circle of Simon Vouet (French 1590-164 oil on copper, unframed Copper : 9 x 7 inches Provenance: private collection, Lyon, Fr...

This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Lod...

Classical Landscape oil on canvas, framed framed: 29 x 37 inches canvas : 19 x 27 inches Provenance: private collection, UK Condition: the frame is exceptionally fragile and vulnerab...

This finely executed oil painting, attributed to the circle of Christian Wilhelm Ernst Dietrich, captures the contemplative expression of an elderly man, his gaze lowered in quiet re...

The Madonna and Christ Child English School, 19th century after the earlier painting by Sir Anthony van Dyck oil on canvas, framed in fine elaborate gilt frame. Framed: 49 x 39.5 in...

French School 17th Century, Portrait of a young man, oil on canvas 45 x 32 cm of course the work is unsigned, which is normal for this type of work. But even if it remains anonymou...

Travellers in Landscape Flemish Old Master, 18th century oil on on canvas, unframed canvas : 29 x 39 inches Provenance: private collection, France Condition: very good condition For...

Madonna and Child English Old Master, c. 1800 oil on canvas, unframed (relined canvas) Canvas: 14.5 x 12 inches Provenance: private collection, UK Condition: very good condition De...

The Mona Lisa after Leonardo da Vinci French artist, 20th century oil on canvas, unframed canvas: 24 x 18 inches provenance: private collection, Paris condition: good and sound condi...

The Flagellation of Christ Italian, 18th century oil on canvas, framed Framed: 15 x 14 inches Canvas : 12 x 12 inches Provenance: private collection, UK Condition: very good conditio...

Christ on the Cross attributed to Jan Luyken (Dutch, 1649–1712) inscribed 1674 upper corner pencil drawing, watercolor and ink wash on paper over oard, framed framed: 12 x 11 inches ...

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...

Large 17th Century Italian Old Master, The Garden - Noli me tangere, Pier Francesco Cittadini (attr.) Description In the stillness of a garden in bloom, Noli me tangere captures a p...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) Holy Family with the Young St John The Baptist and St Elizabeth Oil on canvas A Royal Coat of Arms lower left Canvas size...

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...

King Charles I British artist, early 20th century signed with initials oil on canvas, framed framed: 36 x 29 inches canvas: 32 x 26 inches provenance: p...

The Arcadian View Italian School, circa 1800 Grand Tour subject oil on canvas, unframed canvas : 12 x 16 inches provenance: private collection, UK condition: very good and sound cond...

Artist/ School: Italian Old Master, 18th century Title: Angel and Saints appearing to figures, one dressed in a white ruff collar. Medium: oil on canvas...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

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 Winter Landscape Dutch School, 19th century oil painting on canvas, framed framed: 22 x 28 inches canvas: 16.5 x 23 inches provenance: private collection, UK condition: very goo...

'Providenza' 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 inche...

The Nativity Dutch Old Master, early 1700's period oil on canvas, unframed canvas: 36 x 27.5 inches provenance: private collection condition: very good and sound condition, some scuf...

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...

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...

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...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

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...

Dutch/ Flemish School, early 1800's oil on canvas, framed framed: 19 x 24 inches canvas: 13.5 x 18.5 inches provenance: private collection, France condition: good and sound condition...

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...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

The Close of Day English artist, second half 18th century circle of Thomas Gainsborough (British 1727-1788) oil on canvas, unframed canvas: 24.5 x 29 inches provenance: private colle...

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...

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...

‘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 – w...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

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...

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,...

The Italian Landscape English artist, early 19th century circle/ follower of Joseph Mallord William Turner (British 1775-1851) oil on wood panel, framed in a delightful antique walnu...

Portrait of Anna Maria de Camudio, Spanish noblewoman and lady-in-waiting to Infanta Isabella Attributed to the Studio of Anthony van Dyck, c. 1630 This finely preserved 17th-cent...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco bastante actual El estado de la obra es aceptable, solo comentar que la ...

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...

Portrait of a Gentleman in Ruff Collar and Robes Dutch School, 18th century oil on canvas laid over panel, unframed board: 28.5 x 24 inches provenance: private collection condition: ...

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...

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

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...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

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

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra con un marco del siglo xix en madera estucada y policromada (el marco presenta algún leve descolche) El es...

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: ...

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...

English School, early 20th century signed oil painting on canvas, unframed canvas: 17 x 24 inches provenance: private collection, Eng;and condition: good and sound condition, minor ...

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 ...