Old Masters Figurative Paintings

Madonna in Sorrow Italian School, mid 19th century after the 17th century Old Master oil painting by Sassoferrato (Uffizi, Florence) Oil on canvas, unframed Canvas: 29.5 × 25 inches ...

Netherlandish School, 18th Century – Monogrammed Old Master Oil Painting on Panel A captivating Old Master oil painting depicting the Crucifixion at Calvary, set outside the walls o...

Bonaventura Peeters the Elder (1614–1652) attr., Stormy Coastal Scene with Merchant Vessels, Galliot, and Dolphins Framed by rugged cliffs and illuminated under a dark, swirling sk...

Pair of XIX Century Nord Italian Landscape Giovan Battista Lelli This not signed wonderful pair of landscape paintings, can be definitely can be assigned tothe Milanese painter Giov...

Shipping on Rough Seas by Jacob Adriaensz Bellevois (1621-1675, Dutch), unsigned oil painting on wood panel, framed panel: 23.25 x 32.75 inches framed: 29 x 38 inches. condition: s...

Venetian School, late 15th century Saint Paul the Apostle oil on panel unframed 44.5 × 23.5 cm (17.5 × 9.3 in) framed 64 × 42 cm (25.2 × 16.5 in) No signature Provenance: Private ...

French School, late 17th Century Mediterranean Harbour with Lighthouse and Shipping oil on panel, circular composition unframed 20 cm (7.9 in) framed 33.5 × 33.5 cm (13.2 × 13.2 in...

"17th Century Flemish School Old Master Adoration of the Magi." Oil on canvas. Previously relined. Unsigned. Artwork: 81 × 61 cm (31.9 × 24 in.). 88 × 69 cm (34.6 × 27.2 in.). (Fra...

Circle of Christian Wilhelm Ernst Dietrich (1712–1774) Germany Head of an Elderly Bearded Man oil on panel unframed 28 × 22.5 cm (11 × 8.9 in) framed 44.5 × 38.5 cm (17.5 × 15.2 in...

'Insubria' 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 ...

Early 18th-Century Italian Venetian Portrait Painting on Glass This wonderful early 18th-century portrait of a lady holding a small dog is a classic example of reverse glass painting...

The Embarkation of the Queen of Sheeba British School, early 19th century, apparently unsigned though the previous owner insisted it was. after the earlier painting by Claude Lorrai...

Tuscan School 17th–18th centuries Saint George and the Dragon Oil on canvas 66 x 50 cm. Framed: 92 x 76 cm. The fascinating painting we present here depicts the victory of ...

Figures in Classical Landscape Dutch School, 17th century unsigned, as is typical of the period oil on canvas, framed inscribed verso to label framed: 23 x 27 inches canvas : 20 x 24...

Circle of Jean Baptiste Vanmour (French, 1671–1737) Portraits of a Moorish Prince and Princess c. 1700 Pair of oil paintings on canvas, unsigned framed in carved gilt wood frames D...

Portrait of the Lady with a Fan English School, second half 20th century after Diego Velazquez's (1599-1660) original painting oil painting on canvas, unframed canvas : 36 x 28 inche...

Provenance: The Raeburn Gallery, as by Maerten de Vos; Bukowskis, Stockholm, 15–18 April 1970, lot 133, as in the manner of Anthony van Dyck; Private collection, Sweden Essay: This ...

Figures & Animals in Classical Landscape circle of Jans Frans Van Bloemen (Orizzonte 1662 - 1749), unsigned oil on canvas, framed framed: 28.5 x 42.5 inches canvas: 19 x 34 inches P...

Portrait of the Madonna in Prayer 17th Century Italian School oil on board, framed framed: 6.75 x 6 inches board: 5 x 4 inches Provenance: private collection, England Condition: ver...

Portrait of an Aristocratic Lady Holding Flowers in a Landscape Setting English School, 17th century, circle of Sir Peter Lely (1618-1680) inscribed 'C Wither of Hall Place' oil on ...

This beautiful painting, due to its very high quality of execution, style and era, can be referred to the great artist Warren Sheppard, who specialized in seascapes. Of great evocati...

An important and extremely rare pair of Italian landscapes from the Neoclassical period, painted using the refined technique of tempera. They depict views of the Tyrrhenian coast ne...

‘Westminster from the Thames by Moonlight’ by Henry Pether (1800-1880). The painting - one of the artist’s finest views of London in the 1860s - depicts the Houses of Parliament, t...

Unknown Italo-Flemish Artist (active circa 1600) Adoration of the Shepherds oil on copper unframed: 32 × 25.5 cm (12.6 × 10 in) framed: 43 × 37 cm (16.9 × 14.6 in) Provenance: Acq...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

Monastic Ruins by a Stream French School, early 1800's oil on canvas, framed Framed 15 x 19 inches Canvas : 12.5 x 16 inches Provenance: private collection, France Condition: very go...

Dusk Landscape British School, 18th century oil on canvas, unframed painting: 32 x 41 inches provenance: private collection, UK condition: very good and...

Portrait of a Lady English School, 18th century oil on canvas, unframed canvas : 31 x 25 inches provenance: private collection, UK condition: good and sound condition

Italian School, Late 17th Century (circa 1670–1700) Christ in the Garden of Gethsemane Oil on panel, in a carved and gilded Baroque frame The painting is unsigned A moving devotiona...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

Corrado Giaquinto (Naples, 1703 – Naples, 1765) Venus tries to dissuade Adonis from going hunting Oil on canvas 131 x 100 cm. – With an important period frame (imperfections, mi...

Christ Healing the Sick French School, 19th century oil on canvas, unframed canvas: 15 x 20.5 inches Provenance: private collection, Europe Condition: some craquelure throughout, mo...

Old religious themed oil painting on canvas representing Saint Bruno of Cologne, founder of the Carthusian Order, recognizable by his white habit and the characteristic gesture of si...

Francesco di Girolamo da Santacroce (Venice, 1516–1584) Saint Agatha Oil on canvas 126 x 68 cm. Framed: 137 x 80 cm. The painting depicts Saint Agatha (a companion piece fe...

French school, circa 1840, Portrait of a Gentleman, monogrammed D.L. on the lower right oil on wood panel 28.8 x 24,8 In a beautiful antique frame : 48 x 43.5 cm This gentleman’s...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

17th century English/Dutch School, from the Circle of Sir Peter Paul Rubens A very interesting and well-painted 17th-century oil on canvas of two men seated on horseback in a landsc...

No signed This 18th-century oil on copper painting, by an anonymous artist, exemplifies the refinement and technical sophistication associated with this highly prized medium in Euro...

La pintura representa a la Virgen María por su iconografía tradicional. Viste un manto azul verdoso que cubre su cabeza y hombros, y una túnica rosada con detalles en tonos claros. S...

Interesting oil on canvas depicting the Virgin and Child, belonging to the Colonial School, almost certainly Cusco (Peru). It dates from the mid-19th century and is unsigned. The wor...

Land Battle - Antonio Savisio Italia 2006 - Oil on canvas diam. cm. 30 Gold leaf gilded and laquered wooden frame cm. 47x47 Maestro Antonio Savisio drew inspiration from the master...

Bathers by the Woodland Pool Dutch School, 17th century circle of Cornelis van Poelenburgh (1594-1667) oil on copper, framed framed: 13 x 15 i...

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...

La obra no va firmada Se presenta enmarcada la obra con un marco en madera dorada del siglo xix (el marco presenta algunas ligeras faltas sin importancia) Medidas obra: 20 x 17 cm....

Charming 19th-century oil on panel attributed to the Flemish School, anonymous artist. This work depicts an intimate interior scene with several figures engaged in daily life, charac...

Carlo Francesco Nuvolone (Milan 1609 – Milan 1662), attributed The Suicide of Queen Sofonisba Oil on canvas 76 x 60 cm. - In frame 100 x 85 cm. This painting captures the tr...

A contemporary cowboy is rendered with the gravity of a classical male nude. Surdo treats the body with the care of an Old Master while layering in the mythology of American masculin...

17th century Flemish School, Saint Barbara This accomplished 17th-century Flemish oil painting depicts Saint Barbara, shown as a serene and powerful woman dressed in a luminous red gown, set against a warm, atmospheric background and proudly holding her traditional attribute; a tower. The invention of the present composition stems from 17th century Antwerp and was likely drawn by Theodoor van Thulden...

Francesco Cairo (Milan 1607 – 1665), workshop of Queen Artemisia with a Cupid Oil on canvas 129 x 109 cm – Framed 143 x 125 cm. Reference bibliography: Francesco Cairo 1607–1...

Escuela colonial mejicana; siglo XVIII. “San Antonio con el Niño”. Óleo sobre tabla. Medidas: 28 x 21 cm. Gran pieza para coleccionistas de arte religioso de calidad San Antonio de P...

The Rape of the Sabine Women Vincent Malò (Cambrai, c. 1595/1600 – Rome, 1649) attributed Oil on canvas 110 x 193 cm. In frame 122 x 206 cm. The ...

Francesco Fontebasso (Venice 1709 – Venice 1769) Alexander the Great Shows Mercy to the Persians Oil on canvas 108 x 153 cm. - Framed 120 x 164 cm. Highly captivating due to ...

Archangel Michael Guido Reni (Bologna 1575–1642) Follower of 17th–18th century Oil on canvas 134 x 96 cm. - Framed 147 x 108 cm. The work in question, of excellent qual...

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...

Beautiful Dutch School painting dating from 17th century. Oil on wood panel measuring 10 3/8 x 14 7/16 inches. Unsigned. No inpainting or conservation. Depicted is a scene with a beautiful young woman singing...

The Announcing Angel Lucrina Fetti, née Giustina Fetti (Rome, c. 1590 – Mantua, 1673) attributed to Oil on canvas 75 x 62 cm. - Antique gilded wooden frame 87 x 74 cm. The wo...

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...

Neptune on the Waves of the Ocean Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 – Bologna, 1666) Attributed to Ercole Gennari (Cento, 1597 – Bologna...

Saint Michael the Archangel Workshop of Guido Reni (1575–1642) First half of the 17th century Oil on canvas Dimensions: 132 x 90 cm. With frame: 143 x 102 cm. The Saint...

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...