Oil Landscape Paintings

Workshop of Louis de BOULLOGNE (Paris 1654 – Paris 1733) Moses defending the daughters of Jethro Oil on canvas H. 75 cm; W. 106 cm Produced at the end of the 17th century, this fair...

Dutch Fishing Boats & Naval Ships Offshore, 17th Century circle of LUDOLF BAKHUIZEN (1630-1708) Large 17th Century Dutch Old Master scene of Dutch fishing boats and naval ships offshore, oil on canvas. Good quality and condition early Dutch maritime...

William III At The Battle Of The Boyne, 1690, 17th Century attributed to Jan WYCK (1644-1702) Large 17th Century historical account of William III at the Battle of The Boyne, oil o...

Work on canvas Plaster and gilded wood frame 89.5 x 105 x 7 cm

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

Portrait Of Richard Ripley, Royal Navy, circa 1755 by Dominicus Van Der SMISSEN (1704-1760) Large 18th Century English portrait of Richard Ripley esq, by Dominicus Van Der Smissen,...

Henry Pether, late 18th-century Moonlight lake Landscape. Born into a family of artists, Henry was the son of Abraham Pether (1756-1812), a talented la...

The Great Flood Flemish painter active in the 17th century Oil painting on canvas 52 x 70 cm. - In frame 76 x 95 cm This interesting seventeenth-century Flemish painting illustrate...

Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces. He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...

A Castle and Drawbridge by a lake with mountains beyond Italian School, 18th century oil painting on canvas: 25 x 29.75 inches condition: relined, restored to a high standard, very ...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

"Alexander Adriaenssen (1587-1661). Still Life With Fish" By Alexander ADRIAENSSEN (1587-1661). Still life with fish", oil on panel, 50.5 x 76.5 cm

Artist/ School: Italian School, early 18th century The painting is almost certainly from the circle of the Italian Baroque painter known as 'Rosa da Napoli', Jacob Roos (Rome 1682-Na...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with f...

French School 18th Century In the taste of Joseph VERNET (1714-1789) Seaside Landscape with Roman Ruins and Galleon Oil on canvas Old Frame regilded with leaves Dim canvas : 61 X 73...

Flemish painter active in Italy in the eighteenth century Coastal landscape of the Mediterranean with architectures and figures Oil painting on canvas (69 x 88 cm., in frame 80 x 100...

OIL PAINTING Antique 19th Century Fine Quality Piece Gold Gilt frame ( damaged frame ) OLD MASTER OIL PAINTING BRITISH SCHOOL 19th Century in a G...

A beautifully detailed late 17th or early 18th century Dutch or Flemish landscape with cows grazing in the water, goats, dogs, and other animals near the water’s edge, under the watchful eye of the herdsmen, on a backdrop of rolling hills and trees. Oil on wood panel, unsigned, and housed in a Rudolph...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

Lovers In The Garden, 18th Century English School Large 18th Century English School portrait of a husband and wife in an Italianate garden, oil on canvas. Excellent quality and co...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

Old master painting featuring a busy port city in the 17th century. Most likely Dutch and very close in style to the work of Thomas Heeremans. This is...

The scene of Christ carrying the cross is imagined in a rocky landscape. Two soldiers press the cross onto his shoulders, another leads him, holding the rope. A line of soldiers and prisoners moves from right to left. In front of them the three Marys kneel and pray for Christ. A nursing woman, symbol of Caritas, sits in the right foreground. Some dogs and playing kids enliven the scenery. Simon de Vos was born in Antwerp, and was first taught by Cornelis de Vos...

Oil painting on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy ba...

Traveller in a Duch Village Meerhoud Jan Gorinchem 1633 – 1677 Amsterdam Dutch School Golden Age Signature: Signed bottom left Medium: Oil on panel Dimensions: Image size 21 x 25 c...

Painting oil on canvas with dimensions of 110 x 125 without frame and 120 x 135 cm with frame depicting a landscape en plen air case and characters immersed in the nature of the seco...

FINE ORIGINAL ANTIQUE 18th CENTURY BRITISH OLD MASTER OIL PAINTING MAN O WAR IN HARBOUR Description Good Condition canvas but very old with some browning in places (see picture). C...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714) - Monogrammed Coastal view with vessels and perched castle Oil painti...

Artist/ School: Italian School, 17th century. Title: A King and Queen before court figures, amidst a classical landscape with Roman columns. Medium: oil painting on canvas, framed ...

The Hunting Party, 17th Century School of Simon KICK (1603-1652) Huge 17th Century Dutch Old Master interior of a hunting party after the hunt, oil on canvas. Excellent quality and condition that would signifcantly enhance with a light clean. Presented in an antique gilt frame. Exceptionally detailed and early interior hunting portrait...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

Serguace di Salvator Rosa Paesaggio con personaggi Olio su tela, Sec. XVII, cm 52x93,5; con cornice cm 64x146x6

Sir Joshua Reynolds (16 July 1723 - 23 February 1792) was a leading 18th-century English portrait painter and President of the Royal Academy from 1769 to 1792. He was born on 16 July...

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

Johann Heinrich Roos (Otterberg 1631 - Frankfurt 1685) Landscape with the myth of Mercury and Batto (from Ovid's Metamorphoses) Oil painting on canvas 101 x 159 cm. With frame 115 x 174 cm. The work represents the mythological episode, taken from Ovid's Metamorphoses (Ovid, Metamorphoses, II, 676-707), and precisely when the god Mercury, taking advantage of a moment in which Apollo leaves his herd alone, steals some heifers and then hides them in a ravine. The only witness to the theft is the old Batto, a shepherd in charge of looking after the purebred horses of the rich Neleus, king of Pilo and who, in exchange for a heifer, guarantees the God not to be a spy, swearing to him that he will remain silent as a stone. . Immediately distrusting of his words, Mercury decides to test his honesty: he presents himself in front of him with another aspect, asking him if he had seen a herd pass by, and offering him in exchange for this information a bull and a heifer. Batto, who is immediately tempted by this new and more convenient offer, indicates without hesitation where the animals were hidden. As Ovid well illustrates in his poem 'the Metamorphoses', whoever betrays the trust or benevolence of a God is forced to a bitter fate, and so Batto is transformed by Mercury into a stone, remaining silent for eternity just as he had promised. The scene represents the moment when Mercury is offering Batto a heifer, which he indicates with his hand, in exchange for his loyalty. The divinity is perfectly recognizable due to his classical attributes, the winged helmet and shoes and above all the caduceus, the winged staff with two twisted snakes, which he will use to transform the shepherd into a stone. The figurative and exhibition peculiarities of this valuable painting...

Artist/ School: Italian School, 17th century, circle of Salvator Rosa (1615-1673) Title: Waterfalls in a Landscape Medium: oil painting on canvas, unframed Size: canvas: 20 x 24....

View Of Posillipo from the Riviera di Chiaia, circa 1695 by ANGELO MARIA COSTA (1670-1721) Huge 17th Century Italian Neapolitan School view of Posillipo from the Riviera Di Chiaia,...

Work on canvas Plaster and gilded wood frame 90 x 127.5 x 5.5 cm

British Royal Navy In A Fishery, 18th Century attributed to Richard WRIGHT OF LIVERPOOL (1735-c.1774) Large 18th Century view from the shore of a Royal Navy ship sailing through a ...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

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...

18th century Dutch school (circa 1700.) - Circle of Pieter van Bredael (Antwerp 1629 - 1719) A village square with a market scene oil on canvas, 78 x 108 cm., Framed 94 x 121 cm. Questa affascinante scena popolare con un brulicante mercato nella main piazza è un opera di un artist fiammingo attivo intorno al 1700: si tratta di un interesting spaccato di vita dailyiana di un piccolo villaggio dell’Olanda del Secolo d´Oro. Nella piazza brulicante di gente con sullo sfondo delle tipiche case ed una grande fontana zampillante, possiamo assistere al trambusto che ruota attorno al giorno di mercato, con figure di ogni estrazione sociale indaffarate nelle proprie attività. Anche is difficult to ricondurre la tela alla mano di un autore in particolare, data la predilezione di molti autori a questo genere di ricche composizioni, possiamo però avvicinarne l'esecuzione alla cerchia del pittore di Anversa Pieter van Bredael (Anversa 1629–1719). Van Bredael, che faceva parte di una grande famiglia di pittori, è registrato come allievo nella bottega di David Ryckaert III nel 1640. Dopo viaggi di studio nei Paesi Bassi e in Spagna divenne maestro della Gilda di San Luca ad Anversa nel 1651. Lavorò anche in Italia, soprattutto in Roma, dove venne strongly influenzato dallo stile compositivo del gruppo dei Bamboccianti. Era ben noto per le sue scene di mercato altamente fantasiose che illustravano lo spettro diversificato della vita dailyiana della città. I suoi dipinti di paesaggi sono caratterizzati da accenti di colori vivaci, spesso popolati da molte figure che non possono che evocare lo stile di Jan Brueghel il Vecchio. Vi mostriamo di seguito alcune operates dell’autore, con cui è agevole ravvisare stilistiche analogy e compositiva con il nostro dipinto. - Dorotheum, Vienne, Alte Meister...

Artist/ School: circle of Julius Caesar Ibbetson (29 December 1759 – 13 October 1817) Title: Figures by stone bridge against a river highland landscape, beautifully detailed early w...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with lake and city on the banks About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

River Landscape with Bystanders is an original old master artwork realized by Artist of 18th Century. Mixed colored oil painting on canvas. The painting is approachable to traditio...

Valuable painting depicting 'Arcadian landscape with figures along a stream and villages in the distance', attributed to Jan Frans Van Bloemen, L'Or...

The Rape Of Europa, 17th Century after Claude Lorrain (1604-1692) Large 17th Century Italian Old Master of The Rape Of Europa, oil on canvas. Large sc...

A Mediterranean harbour scene with figures and ships before a Capriccio landscape. Oil on Canvas In a gilded frame 10 ½ x 19 ½ inches 26.6 x 49.5 cm ABOUT THE ARTIST: Adriaen van d...

An oil painting by Adolf Friedrich Harper from 1799. A rare antique painting from the romanticism era. Framed in ornate gold wood frame, signed in lower left corner. Artist: Adol...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with bridge and tower About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

Attributed To George Garrard Landscape with animals and figures. oil on canvas

Alexander van Bredael (Antwerp 1663 - 1720) - Signed lower left: A.V. BREDAEL F (ecit), Italian coastal landscape with market scene Oil painting on canvas (70 x 88 cm., framed 95 x 113 cm.) Provenance: Mercier & Cie, Lille, France, 05.28.2000, lot 223 Dorotheum, Vienna, 4.10.2000, lot 496 (estimate 18,000-22,000) The work, particularly rich in detail, depicts a fantasy coastal landscape, as the scene of a teeming morning market that animates the main square, with a multitude of characters, including fruit, vegetable and livestock merchants, fishermen in the distance and buyers. The signed painting is a typical work of the well-known painter Alexander van Bredael (1663–1720), a native of Antwerp, specializing in highly imaginative market scenes and village festivals, slides of everyday city life. His works are often set in Mediterranean landscapes, where the architectural models of Italian inspiration stand out, such as the classic village perched overlooking the shore, and the particular fountain that stands out in the center of the square, decorated with masks, female figures and a statue of a satyr on top. Even the style with which the characters are outlined and the tasty genre scenes perfectly reproduce the prototypes of the master, characterized by a use of bright colors, and by an extremely refined attention to detail, which combines his ability as a landscape architect to that of naturamortista. Finally, the particular beauty and wealth of detail with which the depictions of animals are rendered, the beautiful and rustic still lifes exhibited by the vegetable and fruit seller, the silhouettes of the characters, minutely described and enjoyable in every detail, deserve mention. Works by the author that appeared on the market, with stylistic and compositional characteristics similar to our painting: - Alexander van Bredael, Great pastoral feast among ancient ruins, Hampel (Munich) 06.26.2009, nr. 248 - Alexander van Bredael, Figures in a stream outside the city, Lempertz (Keulen) 22-11-2008, nr. 1292 - Alexander van Bredael, Landscape of the South...

View Of Southampton From The River Itchen and Southampton Water In The Distance, circa 1800 by John Tobias Young (1755-1824) - rare early view of Southampton Large circa 1800 view...

Felice Torelli (Verona 1667 - Bologna 1748) Hagar and the Angel Oil on canvas, 41 x 116 cm without frame - 52,5 x 127 cm with frame Original shaped and ...

Oil on oak panel Image size: 11 1/2 inches circular diameter (29 cm) Hand carved gilt frame

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

Matthieu Van Plattenberg known as Platte-Montagne (Antwerp 1608 - Paris 1660) Stormy navy with vessels Oil painting on canvas 84 x 140 cm. i...