Landscape Paintings

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Jesus at the House of Mary & Martha Italian artist, 1600's oil on canvas, unframed Canvas: 32.5 x 56.5 inches Provenance: Private collection, England Condition: for a work of such mo...

Carl Johansson, also known as "Ultramarin Johansson," was a Swedish artist born in 1863 and known for his distinctive blue-toned paintings. His work often depicted landscapes, seascapes, and cityscapes, capturing the beauty and essence of Sweden's natural landscapes. We are proud to offer one of his late works from 1935 for sale. This painting depicts a beautiful landscape from Nordingrå, a small village situated on the High coast of Sweden. The beauty of Nordingrå has captured many artists in the 19th-century, inspiring many famous painters, including Helmer Osslund...

Italian painter (17th century) - Baptism of Christ. 122 x 74 cm without frame, 133 x 86 cm with frame. Antique oil painting on canvas, in wooden frame. Condition report: Lined can...

Through The Redwoods - American Impressionist American Impressionist oil painting depicting a forest of California redwood trees. A giant red...

View of Riva degli Schiavoni is an original old master artwork realized in the late 18th century by a follower of the School of the italian painter Canaletto. Oil on canvas. An imp...

Alessandro Salucci (Florence 1590 - Rome c. 1655/60) - Architectural Capriccio with Characters. 73.5 x 106.5 cm without frame, 84 x 116.5 cm with frame. Antique oil painting on can...

John Nost Sartorius (London 1759-1828) A Huntsman with Dogs and Pony Signed 'JN Sartorius pin.' lower right Oil on canvas Canvas Size 26 3/4 x 37 in Framed Size - 31 x 41 in John No...

Jean-Baptiste Oudry (Paris 1686 - Beauvais 1755) circle of - Hunting scene with greyhounds. 21 x 27 cm without frame, 26 x 32 cm with frame. Antique oil painting on panel, in a car...

Antique American modernist New York City dock scene. Oil on canvas. In excellent original condition. Handsomely framed in a period modern molding. Excellent condition, ready to...

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). French-born Dominic Serres didn’t just paint the drama of...

Attributed to Francis Swaine (British, 1725–1782) Naval Engagement at Sea, 18th century Oil on panel In this evocative seascape, a cluster of ships—flags raised, cannons fired—conve...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

Trees is a modern artwork realized by Jean Dreyfus-Stern in the 1930s. Oil on Wooden Panel. Good conditions.

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

Francesco Fontebasso (Venice 1709 - Venice 1769) Alexander the Great grants clemency to the Persians Oil on canvas 108 x 153 cm. In frame 120 x 164 cm. Fascinating for its interest...

Expressive depiction of Christ being aided by Simon of Cyrene by an unknown artist, Italiante School style of 17th-century Northern European painters principally Dutch, c.1700s-1800s. This piece is composed of oil on linen, laid down on fiberboard. Presented in a giltwood frame. Image size: 42"H x 33"W. Italianate painters, group of 17th-century northern European painters, principally Dutch, who traveled in Italy and, consciously adopting the style of landscape painting that they found there, incorporated Italian models and motifs into their own works. Chief among the Italianates were Bartholomeus Breenbergh, Andries and Jan Both, Nicolaes Berchem, and Jan Asselijn...

Finely painted American impressionist coastal landscape painting. Oil on board. Framed. Signed verso. Image size, 13 by 16 inches.

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

Tobias & The Angel Flemish Baroque Old Master, circa 1600 circle of Paul Brill (Flemish 1554-1626) oil painting on canvas, 43.5 x 59.25 inches condition: very good, restored and read...

Oil on artist board Circa 1930 -1935 Signed verso and dedicated to JF (possibly John Folinsbee, fellow artist and neighbor). Overall size encased in custom 22K gold leaf frame wit...

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their sails billowing and banners and flags blowing in the wind. The sea is also choppy and clouds race over head. It is an ambitious, busy nautical scene and Storck has perfectly captured the energy and movement of the ships and smaller vessels. This is an excellent example of a 17th century Dutch Old Master oil painting. Provenance: Part of a private collection of Flemish & European paintings. Koller Auctions in Switzerland in 2011. Bonhams 2020. Condition. Oil on canvas, 25 inches by 24 inches and in good condition. Frame. Housed in an ornate 23 carat gilt carved Lely period frame with name plate, 32 inches by 31 inches and in excellent condition. Abraham Storck (1644-1708) was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman. Storck was baptized in the Noorderkerk, a Protestant church in the Jordaan. His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting. Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour. Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen...

Maurice UTRILLO Paris : Winter Day at Montmartre Original gouache painting Signed bottom right 40 x 32 cm at view (c. 16 x 13") Painted c. 1934-36 Presented in a golden wood frame ...

This extensive late 17th-century oil painting by Dutch artist Jacob van der Does II (1661-1699) depicts a river landscape with a hunting party, riverside buildings, various craft, a ...

Antonio Diziani (Venice 1737 - Venice 1797) - Bucolic landscape with characters and wagon. 45 x 101.5 cm without frame, 55.5 x 111.5 cm with frame. Ancient oil painting on canvas, ...

Lucien Neuquelman, French (1909 - 1988) - Women in Meadow, Year: circa 1938, Medium: Oil on canvas, signed lower right, Size: 9.5 x 13.75 in. (24.13 x 34.93 cm), Frame Size: 16.5...

French School of Francois Boucher (Paris, 1703 - 1770) Putti as Fishermen (Allegory of Water) 18th century Oil on canvas 65 x 146 cm. - In frame 77 x 157 cm. We present a splendid...

Amazing early American surrealist nude male portrait landscape. Painted by Charles W St Clair. Oil on board. Framed. Image size, 24L x 30H. Super detailed and rare!

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788) - River landscape with knights and medieval village. 53 x 70 cm without frame, 64.5 x 80.5 cm with frame. Antique oil paintin...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Impressive American impressionist winter landscape oil painting. Framed. Oil on board. Signed. Image size, 9H by 11L.

Landscape, c. 1930-40s, oil on panel, signed lower right, 16 x 20 inches Jeanette Maxfield Lewis was a California-based landscape painter and etcher. Born in Oakland, she spent much...

Roman painter (18th century) - Landscape with wayfarers. 43.5 x 34.5 cm without frame, 58.5 x 49.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fram...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

Landscape with hunters by a lake. 18th century. Oil painting on canvas, from the French or Northern Italian school, Louis XV period. Probably part of the door decoration in an interi...

Arthur G. Nebra (1880-1955) Swiss. 'Lake in the Mountains' circa 1930's. oiil on canvas 54cm x 73cm including the original frame. Romantic Realism iso...

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...

Signed lower left, 'Mogens Hertz' (Danish, 1909-1999) and painted circa 1935. This notable Impressionist first studied with the classically-trained Academician, Laurits Ring and, su...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

Gorgeous mid century impressionist seascape of Southern California coastal rocks and waves by Georgia Crittenden Bemis (American, 1908-2008), 1939. Signed lower left corner and on verso. Presented in gilt-toned gesso frame of period. Image size: 30"H x 36"W. Framed size; 34"H x 40"W. Painting was exhibited at the San Diego Fine Arts Gallery, 1939. Georgia Crittenden Bemis was born in Delano, MN on Jan. 13, 1908. Bemis moved to San Diego, CA in 1928. She studied there at the Academy of Fine Arts and with Pauline DeVol, Charles Reiffel, Otto Schneider...

Artist: Antoni Llobet Aracil (Barcelona, 1910 - 1983) Title: Catalan Landscape with Masia Technique: Oil on board Dimensions: 13 x 16.1 in Support: Board Framing: Unframed Period: 19...

Italian painter (18th century) - Arcadian landscape with flock and shepherds. 56 x 70 cm without frame, 63.5 x 79 cm with frame. Antique oil painting on canvas, in a wooden frame. ...

This superb Dutch Golden Age Old Master landscape oil painting is attributed to Jacob van der Croos. Painted circa 1670 it is an Italianate landscape with figures and their animals i...

"Trois Pêcheurs" Louis Pastour (France, 1876-1948) Oil on board Signed l.l. 7 7/8 x 4 7/8 (8 1/8 x 11 1/8 frame) inches Louis Pastour was called the “...

Antique American impressionist coastal seascape oil painting. Oil on canvas. Signed. Framed. Measuring 30 by 36 inches overall and 24 by 30 painting alone.

18th century oil on canvas chinoiserie scene painted 'en Camaïeu Bleu'. Originally part of a decorative scheme in a dining room as an overdoor set into panelling. Provenance: From ...

Splendid Italian painting from the first half of the 17th century. Oil on panel artwork of remarkable pictorial quality depicting Christ carrying the cross. The subject found particu...

This large superb British Old Master horse portrait oil painting is by noted artist John Boultbee. Painted circa 1790, the composition is a beautif...

3905 Impressionist French village colorful landscape gouache on laid paper Image size 16x11.5"

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

This stunning Italian Capriccio Old Master landscape oil painting is attributed to circle of Giovanni Paolo Panini. Painted circa 1740 it is a fantastic view of the Temple of Sibyl, ...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Swans Startled by Dog Flemish Old Master, 18th century unsigned (as is typical of the period) oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches proven...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

Resurrection of Christ Attributed to the Master of the Prodigal Son / Jan Mandyn (1500-1560) Oil on panel, 73 x 56 cm (without frame), 81 x 63 cm (with frame) The work was exa...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

Importante studio per una grande opera dal titolo , Risveglio di metropoli sempre del 1930 L’opera è stata archiviata dall’archivi futuristi italiani CRALI TULLIO (1910 - 2000) Nel...