Old Masters Figurative Paintings

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...

Cherubim playing - Giulio Di Sotto Italia 2004 - Oil on canvas cm. 50 x 100 Gold dilded wooden frame available on request. The proposed painting represents two putti playing .. Cle...

Artist/ School: Italian School, 17th century Title: The Bathing of Bathsheba Medium: oil painting, on canvas Size: frame: 23 x 19 inches, canvas: 18 x 14 inches Provenanc...

This fantastic Flemish 17th century Old Master oil painting is by Thomas Van Apshoven. It was painted circa 1650 and depicts a village with figures outside a tavern, eating, drinking and dancing. Beyond are more dwellings, villagers and animals, all under a blue summer's sky. The detail, brushwork and vibrant colouring are superb. This is an excellent example of Apshoven's work and a typical subject he loved to paint. Provenance. Leominster estate. Wax stamp verso. Condition. Oil on panel, 22 inches by 17 inches and in good condition. Frame. Housed In beautiful gilt frame, 30 inches by 25 inches and in good condition. Thomas van Apshoven (1622– 1664) was a Flemish painter known for his landscapes with peasant scenes and genre scenes in interiors. His genre scenes depict village festivals, the interiors of taverns, village scenes or landscapes with peasants engaged in various activities, singeries, guardroom scenes and laboratories of alchemists. Some still lifes have also been attributed to him. His themes and style are close to that of David Teniers the Younger. He was born on 30 November 1622 in Antwerp as the eldest son of Ferdinand van Apshoven the Elder and Leonora Wijns. His father was a painter who had studied with Adam van Noort and had become a master of the Antwerp Guild of Saint Luke in 1596. No paintings by his father are known. His younger brother Ferdinand van Apshoven the Younger became also a successful painter. Thomas studied under his father. Some sources state that he became a pupil of the prominent genre painter David Teniers the Younger. It is more likely, however, that he was an imitator of Teniers. He was registered as a 'wijnmeester' [son of a master] in the Guild of St. Luke of Antwerp in the guild year 1645–1646. He married Barbara Janssens on 22 March 1645. The couple had four children. The godfathers of the children included the painters Victor Wolfvoet...

This superb Dutch Old Master Golden Age oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 the composition is a group of travellers who have stopped to rest. I...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Provenance: Dukes of Marlborough Collection, Blenheim Palace until its sale at Christie's London on 26 July 1886 (lot 172) English private collection until its sale at Christie's London on 11 December 1992 (lot 363) Erna Weidinger Collection (1923 - 2021) - Austria Literature : Georg Scharf - A list of the pictures in Blenheim Palace - Catalogue raisonné Part 2 - London 1862 (page 166 - number 199 "after Palma Giovane") Charles Davies...

Beautiful original frame in carved, sculpted and gilded wood. Oral expertise by Prof. Massimo Pulini.

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

Work on cardboard Golden wooden frame 54 x 45 x 4.5 cm

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...

This interesting Italian 18th century Old Master oil painting is by noted artist Marco Marcola, also known as Marco Marcuola. It was painted circa 1770 and has excellent provenance. ...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

Violin Player in Tavern 18th century French School oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

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 with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

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...

Portrait of a boy with soap bubbles, studio of Alexis Grimou (Argenteuil, 1678 – Paris, 1733) First quarter of 18th century French school Oil on canvas: h. 79 cm, w. 63,5 cm Louis XI...

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

CHILD - Oil on canvas cm.70x50, Tonino Manna, Italy 2002 Frame available on request from our workshop. in this wonderful painting we admire a girl in a white dress who takes care of ...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

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...

Artist/ School: French School, 18th century Title: Classical figures within an interior. Medium: chalk on paper, mounted. Size: drawing: 11.5 x 13.5 inches Provenance:...

Hendrick Govaerts (Mechelen, Belgium, 1669 - 1720) Title: Genre Scene Medium: Oil on canvas Dimensions: without frame 48.5 x 60 cm - with frame 63 x 72 x 6 cm Oral Expertise by Lisa...

Nicolas LOIR (Paris, 1624 – 1679) Penitent Saint Mary Magdalene Oil on canvas, 58 x 71 cm Unsigned Circa 1665–1675 Trained under Simon Vouet and later Sébastien Bourdon, Nicolas ...

Crucifixion, cercle of Adriaen Isenbrandt, mid 16th century School of Bruges, cercle of Adriaen Isenbrandt (actif 1510-1551) Oil on oak panel with its original ebonized frame Dimensi...

Bartolomeo Guidobono (Savona, Italy, 1654 - Turin, Italy, 1709) Title: Bacchanal with Maenads, Satyrs and Nymphs Medium: Oil on canvas Dimensions: without frame 120 x 110 cm - with f...

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra El estado de la obra es aceptable Medidas obra: 73 cm. de altura x 50 cm. de ancho Medidas obra enmarcad...

Andrea Pozzo (Trento, Italy, 1642 – Vienna, Austria, 1709) Title: Christ in the house of Simon the Pharisee Medium: Oil on canvas Dimensions: without frame 88 x 128.5 cm - with frame...

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...

Battle Scene is an original old masters' artwork realized in the 18th century. Mixed colored oil painting on canvas. The artwork includes frame: 58 x 90 cm.

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

The Annunciation Mid-17th Century French School Oil on canvas, h. 64 cm, l. 64 cm 17th century carved and giltwood frame decorated with oak leaves and acorns Framed: h. 80 cm, l. 80...

The Coronation of the Virgin. Oil on copper. All of our works are covered by our own guarantee of authenticity which covers the work for its ...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

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, ...

Paul Emile Perboyre 1826-1914 French Revue à Longchamp, Oil on panel Signed lower right Panel: 27 1/2" high x 45 1/4" wide Fame: 40 1/8" high x 57 1/2" wide Paul-Emile Léon PERBOYRE: painter of battles born in Horbourg near Colmar in 1826, died in 1907. Painter of history, battles. He was a pupil of Leon Bonnat. He exhibited in Paris at the Salon of French Artists, in which one he became a member in 1909. He obtained an honorable mention in 1908. Perboyre was well known for his many paintings of...

Virgin with Child & St John, late 16th c. Florentine school Late 16th c. Florentine school Virgin with Child and St John the Baptiste Oil on white marble, h. 41,5 cm, w. 32 cm 17th L...

Archery is a beautiful oil on canvas realized by an anonymous French artist of the end of XVIII century and the beginning of XIX century. This marvelous genre scene is very detailed...

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

This 18th-century painting, attributed to Christian Wilhelm Ernst Dietrich (1712–1774), depicts a rustic inn interior, a subject frequently explored by Dutch and German genre painter...

Merry Makers in the Tavern French School, 18th century oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

Matteo Bonechi (Florence, Italy, 1669 - 1756) Title: Triumph Medium: Oil on canvas Dimensions: without frame 65 x 80 cm - with frame 85 x 100 cm Expertise by Professor Sandro Belles...

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...

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...

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...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

Wonderful 18th century English gouache on paper of a 18th century English scene of a groom with a horse in a landscape. One of a set of five all framed in Hogarth frames. L.Green ...

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

INSIDE SCENE - Italian figurative oil on carboard painting, cm.17x29, Carlo Passarelli, 1900s

16th Century Venetian Maestro Title: Deposition of Christ Medium: Oil on panel Dimensions: without frame 40 x 25 cm Formerly 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...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

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...

17th century European oil, Christ and is disciples seated around a table. An interesting and very unique painting. Possibly a fragment originally from a piece of furniture. The s...

Excellent figurative painting of a mother and child by H. Willard Ortlip (American, 20th Century), 1927. Signature and date lower left "H. Willard Ortlip 1927." Presented in a giltwo...

Adriaen van Stalbemt (Antwerp, 1580-1662) Allegory of Peace and War, circa 1620-1630 Oil on oak panel: h. 49.5 cm, l. 73.2cm (19.29 x 28.74 in) Giltwood ...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

After Bartolome Esteban Murillo (Spanish, 1618-1682), "The Little Fruitseller", Oil on Canvas, 19th century, apparently unsigned, depicting young girl and boy counting money over var...

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...

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 ...