Old Masters Figurative Paintings

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

Giovanni Giacomo Sementi (Bologna, Italy, 1580 - Rome, Italy, 1636) - Pier Francesco Cittadini (Milan, Italy, 1616 - Bologna, Italy, 1681) Danae Oil on canvas, without frame 119 x 179 cm, with frame 140 x 200 x 12 cm, weight 35 kg Expertise by Professor Giancarlo Sestieri Publications: Carne - la materia dello spirito, exhibition catalogue curated by Father Alessio Geretti, project of the scientific catalogue curated by Father Alessio Geretti, Nicole Pravisani and Giulia Toffoletti, (21 May - 22 October 2023), Illegio, Casa delle Esposizioni, pp. 56-59; Body, Love and Feelings - Works of Ancient Masters from the 16th to the 19th century. In the paintings of Giorgio Baratti private collection, Milan, exhibition catalogue curated by Alessandro Marchi, (27 July - 18 September 2011), San Marino - Historical Centre, pp. 38-39; Giorgio Baratti Collezione. Selezione di opere d’arte antica (Giorgio Baratti Collection. Selection of ancient works of art), curated by Professor Giancarlo Sestieri and with the participation of Professor Andrea Emiliani, Grafiche Veneziane, Venezia 2011, pp. 22-23. It is a gentle and graceful Danae the one portrayed by Giovanni Giacomo Sementi. A painting in which the Milanese painter Pier Francesco Cittadini also collaborated by painting the golden basin filled with flowers to the left of the scene. The work shows various pictorial influences; from the Bolognese Emilian style, to that of Ludovico Carracci (1555 - 1619) and Guido Reni (1575 - 1642), to the Baroque and Roman style. The work features an elegant red drapery which serves as the background to the entire scene, but the real protagonist is the young woman with long red hair who is lying on a bed covered by a white sheet. The girl is naked except for a lapis lazuli blue mantle...

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 ...

Circle of Jean-Antoine Watteau (French, 1684-1721) Freeing a dove Oil on canvas 27.3/4 x 38.1/8 in. (70 x 96.8 cm.) Possible repair to upper right. In overall good order for the age...

This lovely painting is a British Old Master late 18th century or early 19th-century oil painting by Thomas Barker of Bath. It is stylistically very similar to his other works of the...

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Nicolaes Maes (Dordrecht 1634 - Amsterdam 1693) circle of - Portrait of a Gentleman. 81 x 65 cm unframed, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved an...

Landscape Finder. Goyo painted this intriguing painting in 1994, when his inspiration from the old masters was most noticeable. The artist declares: “I feel a powerful attraction to ...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground approaching ruins on their left. Beyond is a river snakes through the landscape, beneath the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

A charming image of cherubs cavorting with sheaths of wheat in a woodland setting. Follower of Jean-Honoré Fragonard Cherubs cavorting before a tree Oil on panel 10¾ x 14 inches exc...

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...

Giuseppe Nuvolone (Milan, 1619 – 1703) Title: Adoration of the Magi Medium: Oil on paper applied to canvas Dimensions: without frame 16.5 x 24 cm – with frame 22 x 29 cm Antique sha...

18th c. Italian school Santa Veronica, after Simone Pignoni. Period copy by an unknown hand of the original oil painting by Pignoni. The original Pignoni painting was conserved in the Church of S. Eusebio in Cegliolo (Cortona) and now in the permanent collection of the Musée Fabre in Montpellier, France. In the Musée des Beaux-Arts of Marseille, there is another period copy by an unknown hand, considered of lesser quality than the current example. Simone Pignoni (Florence, 1611-1698), one of the most important exponents of the Florentine School, was characterized by a soft touch. His formation with Francesco Furini...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

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...

Born in Antwerp, Artus Wolffordt received his training in Dordrecht where he became a master in 1603 at the age of twenty-two. He returned to his native city in 1615 and initially worked as an assistant to Otto van Veen...

Bernardino Detti (Pistoia, Italy, 1498 - 1572) Title: Face of Christ Medium: Oil on canvas Dimensions: without frame 41 x 32 cm - with frame 47 x 55.5 cm Antique box frame made of solid wood and walnut burl Not signed Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

Provenance: Achillito Chiesa, Milan Luigi Albrighi, Florence, by 1 July 1955 with Marcello and Carlo Sestieri, Rome, 1969 Private Collection, Connecticut Exhibited: Mount Holyoke College Art Museum, South Hadley, Massachusetts (on loan, 2012) Literature: Carlo Volpe, “Alcune restituzioni al Maestro dei Santi Quirico e Giulitta,” in Quaderni di Emblema 2: Miscellanea di Bonsanti, Fahy, Francisci, Gardner, Mortari, Sestieri, Volpe, Zeri, Bergamo, 1973, pp. 19-20, fig. 18, as by the Master of Saints Quiricus and Julitta (now identified as Borghese di Piero). This fine predella panel depicting the Baptism...

Early 20th Century Study of Rembrandt’s Portrait of Old Woman Russian for Niello Engraving A wonderful study of Rembrandt’s portrait of an Old Woman used for Niello engraving by Ru...

Huge and very decorative castle painting. Antique oil painting. Probably 18th century. "Kings from all over the world in Bethlehem". Christian scene. Canvas relined. Big, heavy fr...

This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of...

This finely executed 19th-century devotional painting, rendered in oil on copper, depicts Saint Thomas the Apostle, traditionally recognized as the patron saint of architects and bui...

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

La obra no va firmada Buen estado de conservación el de la pintura, solo comentar que la tela está reentelada Se presenta enmarcada la obra Medidas obra: 72 cm x 54 cm. Medidas m...

The Rape of Europa By Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, w. 45 cm Moulded and ebonized...

"Saint Lawrence Looking at the Treasures" is a captivating painting attributed to the Bolognese School, a prominent art movement from Bologna, Italy, flourishing primarily in the 16t...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Skull with Sacred Writings and Tablets of the Law is a superb and colorful tempera on cardboard, realized in 1766 by an anonymous artist of ...

Nicola Viso, (active 1724 – 1742) Title: The adoration of the magi Medium: Oil on canvas Dimensions: without frame 63 x 100 cm – with frame 76.5 x 114.7 x 4.5 cm Signed “N. Viso. f” ...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

The Musical Contest between Apollo and Marsyas, by Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, ...

Abraham van CUYLENBROCH (1620-1658) Diana With Her Attendants in a Grotto 1651 signed oil on panel 12.2 in x 15.7 inches, inc. frame; 31 x 40 cm Provenance: Sale of Sotheby's Lo...

Spanish School, early 20th century Portrait of Fernando Álvarez de Toledo, the 3rd Duke of Alba (1507-1582). after the 16th century painting by Anthonis Mors oil on panel, framed f...

Amaizing 19' century Roman landscape depicting a part of Villa Borghese with Trinità dei Monti. With a finely carved gilt wood coeval frame. Measurements with frame cm 65 x78 wit...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

This is my take on the classic Pre-Raphaelite painting subject and poem “The Lady of Shalott,” by Alfred Lord Tennyson. It is also inspired by the John Everett Millais painting, “The...

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...

Francesco Albani Circle Italian Mythological Painting This important oil painting on wood depicts a subject that is very rare in the iconography of ancient mythological paintings: the birth of Erittonio. Erichthonius who succeeded Amphictyon becoming the fourth mythological king of Athens and married the naiad Praxithea who made him the father of Pandion. The extremely high quality of this very rare painting suggests that it was painted by an artist who frequented Francesco Albani's studio. The period, the mythological subject, the harmony of the colours and, above all, the sublime quality of the flesh tones all point in this direction. This artwork, never before on the market, comes from an important Italian private collection Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. ERYTHTONIOS (᾿Ερυχϑόνιος, Erychthonios) Born of Hephaestus' love for Athena, from the breast of Ghe, who was impregnated by the god; welcomed by Athena, who placed him in a basket together with one or two snakes, entrusting him to the care of Cecrops' three daughters. Against the goddess's wishes, they opened the chest, from which emerged, according to different versions of the myth, either the child wrapped in snakes or a snake, which, in some versions, killed the girls, while in others, they threw themselves from the Acropolis in fear. Erittonio, in the form of a snake, is welcomed by Athena into her temple and curls up under the goddess's shield. Alongside this myth, of Ionian origin, are others due to the doubling of the figures of E. and Erechtheus The scene of the birth appears in figurative tradition: in a Melian terracotta relief from the early 5th century, Ghe, half-emerging, holds out the baby Erittonio. to Athena, who welcomes him in the presence of Cecrops; the same scene appears on various painted vases, such as a red-figure kölix by the Painter of Kodros, from Tarquinia, in the Berlin Museums, dating from around 440 BC, where Hephaestus also appears alongside Cecrops. A modest red-figure vase from Camiro, in the British Museum, depicts the moment when the fleeing Cecropids discover the cista, from which the infant Erittonio. emerges between two snakes, greeting Athena. The moment when the chest was opened was depicted by Phidias on the xiii and xiv S metopes of the Parthenon, where Cecrops and Pandrosus appear in the first and Erisichthon and Aglaurus with the chest uncovered in the second. A kölix in the style of the Brygos Painter in Frankfurt, on the other hand, depicts the large snake E. chasing the fleeing Cecropids towards their father's palace. Luciano (De dom., 27) recalls a painting depicting the scene of the birth and the representation of the myth in pantomime on the theatre (De salt., 39). Bibliography: Engelmann, in Roscher, cc. 1303-1308, s. v. Erichthonios; P. Jacobstahl, Die Melischen Reliefs, Berlin 1931, pp. 96-98, plate 75 a; W. Züchner, in Jahrbuch, LXV-LXVI, 1950-51, p. 200 ff., figs. 34-35; J. D. Beazley, Red-fig., p. 720; G. Becatti, Problemi fidiaci, Florence 1951, p. 22. Questo Francesco Albani (Bologna, August 17, 1578 – Bologna, October 4, 1660) was an Italian painter. Albani was born in Bologna, Papal States, in 1578. His father was a silk merchant who intended his son to go into his own trade. By the age of twelve, however, he had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi...

A Tavern Interior - 18th Century Old Master, Figurative Oil Painting by Schaak Little is known about the artist J.S.C. Schaak. He was active in England as a portraitist between 1760-1770. His name indicates his German or Dutch origin. Especially portraits of generals...

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

Guido Reni (Bologna, Italy, 1575 – 1642) Title: Masculine Head Medium: Oil on canvas Dimensions: without frame 44.7 × 51.2 cm – with frame 62.8 x 68.3 x 5.5 cm Expertise by Claudio...

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

Pietro Della Vecchia (Venice, Italy, 1603 - Vicenza, Italy, 1678) Title: The Alchemists Medium: Oil on canvas Dimensions: without frame 73 x 97 cm – with frame 90.4 x 114.3 x 6 cm ...

Provenance: Private Collection, Argentina; there acquired by Mr. and Mrs. Ernest T. Harper, New York, by 1960; by descent to: Mr. and Mrs. Alan Harper, New York, until 2024. This s...

17th Century Mexican Maestro Title: Virgin of Solitude Medium: Oil on canvas Dimensions: without frame 165 x 123 cm - with frame 194 x 152 cm Bla...

1910s Italian Signed Landscape Beautiful oil painting on cardboard by the great Bolognese artist Ugo Gheduzzi (Crespellano BO 5 March 1853 - Turin 1925). The light of rare intensity...

16th Century Venetian Maestro Title: Deposition of Christ Medium: Oil on panel Dimensions: without frame 40 x 25 cm Painting without frame Not signed Previously part of the Canesso Collection, Paris. Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genoa, 2022, pp. 22, 23. In this precious panel we can admire a lament over the body of Christ by a large group of bystanders among whom we can recognise the Virgin and, in the foreground, St Catherine of Alexandria...

Antiveduto Gramatica or Grammatica (Rome, Italy, 1571 – 1626) Title: Magdalene Praying with a Skull Medium:Oil on canvas Dimensions: without frame 58 x 43.2 cm - with frame 85 x 72 x...

Pietro Bardellino (Naples, Italy, 1731 – 1806) Title: Mary Magdalene Medium: Oil on canvas Dimensions: without frame 75 x 60 cm – with frame 97 x 82 cm Antique shaped and carved wood...

17th Century Neapolitan Maestro Title: San Vincenzo Ferreri Medium: Oil on canvas Dimensions: without frame 63 x 48.5 cm - with frame 77 x 63.5 cm Original shaped, carved, sculpted a...

Matteo Bonechi (Florence, Italy, 1669 - Florence, Italy, 1756) Title: Presentation of Jesus Medium: Oil on canvas Dimensions: without frame 75 x 49 cm – with frame 89.5 x 65 cm Shaped, carved and gilded wooden box frame Not signed Expertise by Sandro Bellesi, Professor and art historian Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

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...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

Antonio Balestra (Verona, Italy, 1666 - 1740) Title: Solomon Sacrificing to the Idols Medium: Oil on canvas Dimensions: without frame 73 x 98 cm Painting without frame. Born in Ver...

Domenico Maria Canuti (Bologna, Italy, 1626 – 1684) Title: Assumption of the Virgin Medium: Oil on canvas Dimensions: without frame 138 x 104.5 cm Not signed Expertise by Professo...

19th century, oil, Baddesley Clinton THE PHILOSOPHERS MORNING WALK R Dering Here is a fine painting of Edward H Derring of Baddesley Clinton , a national trust property near solihul...

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...