Unknown

17th Century, Old Master, "King Basileus Alexander of Macedon Magnus, the Great"

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

Painting, 19th century, oil on canvas, "Young woman with flower basket" Signed, F.Bach. Dimensions with frame 52cm x 72.5cm

Painting, 19th Century, Portrait of an African Boy, signed, oil on canvas. Dimensions with frame 65cm x 73cm

Painting, 19th century, women portrait, oil on canvas. Dimensions with frame 63cm x 77.5cm

A pair of paintings, dancing ladies. Around 1900. Oil on wood. Signed. Unknown artist. Good condition. Dimensions Including frame.

Decorative, Antique Oil Painting. Child Portrait with Ornate Frame.

Possibly painted by the young Jusepe de Ribera c. 1620-30 A Holy Monstrance Surrounded by Putti We would like to thank Mr David M. Stone and Nicola Spinosa for examining the paint...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

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

Sybil is an original old master artwork realized by Anonymous artist of 18th century. Oil painting on canvas. Very good conditions. Includes coeval frame (fair conditions): 71 x 4x...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would ...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Signed indistinctly, lower right: Musfcher f. Provenance: Private Collection, London (according to a label on the reverse) with Newhouse Galleries, New York, as Caspar Netscher with Galerie N. Karger, Caracas, Venezuela, as Caspar Netscher Acquired by the grandmother of the previous owner, and by descent; offered Christie’s, New York, 26 October 2016, lot 144, as Caspar Netscher (withdrawn) Private Collection, Pennsylvania Michiel van Musscher...

Procaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...

Spanish School of the 19th Century Santa Justa and Santa Rufina Oil on canvas 40 x 27 cm In quite good condition, the paint surface presents numerous cr...

‘Le Femme en Noir’ by Eugène Accard (1824-1888). This fine 19th century French full-length portrait of a young Parisienne beauty is signed by the arti...

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

French painter (c. 1815) - Portrait of a gentleman, probably Napoleon in exile on the island of S. Elena. 109 x 89 cm without frame, 139.5 x 119.5 cm with frame. Oil on canvas, in ...

Italian master (c. 1780) - Neptune. 42 x 34 cm without frame, 57.5 x 49.5 cm with frame. Oil on canvas, in a giltwood frame. Condition report: Painting subjected to relining. Good...

Oil on canvas, 22cm x 16cm, (29cm x 23cm framed). This wonderfully painted study is very much in the tradition of early 19th century artists such as Theodore Gericault. Gericault wa...

A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...

Possibly painted by the young Jusepe de Ribera c. 1620-30 A Holy Monstrance Surrounded by Putti We would like to thank Mr David M. Stone and Nicola Spinosa for examining the paint...