Oil Landscape Paintings

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

William Henry Haines (1812 – 1884), Ca’ d’Oro in Venice Oil on canvas cm 61 x 101 signed (W Henry) and dated (unreadable) lower left. On the back, labels tha...

Oil painting on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped...

Pair of views of Rotterdam: The Stock Exchange building / View of the canal with the old port Eighteenth-century Vedutist painter oils on canvas 47 x 66 cm. - with frame 56 x 75 cm. This pleasant pair of paintings depict two glimpses of the city of Rotterdam, investigated here as vivid documentaries of the habits and customs from the public life of the wealthy Dutch port city, as well as one of the founders of the Dutch East India Company, is an excellent example of 18th century Vedutism We see, in particular, in the first work the monumental Palazzo della Borsa (defined as Il Beurs), designed by the architect Adriaen van der Werff in Westnieuwland, initially a place destined for legislation on trade, where merchant-bankers met periodically to exchange securities credit and enter into sales; it is located on the bank of the Nordblaak River and shot with the Gaapers Bridge in the foreground. The second work immortalizes the docking of the ancient port of Rotterdam, with the foreground view of the two city gates (the Wester Old Hoofdpoort on the left and the Ooster Oude Hoofdpoort on the right); in the background on the left the St. Laurenskerk (Church of San Lorenzo), also called the Great Church of Rotterdam, is the only medieval structure, while on the right the English Church. Very well executed, characterized by a marked brightness and a chromatic range with bright colors and highlighted by the contrast between lights and shadows, our canvases are a very interesting testimony of eighteenth-century Rotterdam, portraying two of the views that have historically influenced a lot on economic history of the city. We can attribute the authorship to an author of the full eighteenth century, inspired by the pictorial style of the Italian landscape painters and whose iconography was presumably drawn from the numerous prints with perspective views made through the optical cameras. In particular, these views of Rotterdam draw their iconographic origin from a collection of perspective prints of the most influential European cities, made by the engraver Johann Balthasar Probst (1732-1801), characterized by a remarkable refinement in the line, at the service of a sense of perspective of undoubted value, and above all characterized by a strong Nordic taste. Descendant of a large family of Augsburg engravers, Probst contributed to making his workshop an important European publishing center between the 17th and 18th centuries, among the major German print publishers in the first half of the 18th century. Despite his travels, including in Italy, between Venice, Rome and Naples, not all the cities he portrayed were drawn from life but taken from earlier prints and drawings and filtered through northern European clichés. Many of these engravings have been lost and are now difficult to find on the antiques market.

Thomas Wyck or Wijck (Bewerwyck 1616- Haarlem 1677) Roman landscape with washerwomen and apple seller about 1660 Oil on panel - 35 x 47 cm., Framed 51 x 62 cm. Provenance: Bonhams Auction, London, Old Master Paintings 9.12.2015 Soraya Cartategui Fine Art Auction - Madrid / New York The work is cataloged on the RKD archive (Rijksbureau voor Kunsthistorische Documentatie). It is a work of the painter Thomas Wyck (Bewerwyck 1616 - Haarlem 1677), an important Flemish artist of the Golden Age, originally from the city of Haarlem and specialized in the creation of splendid landscapes and genre scenes, often set outdoors and populated by figures of commoners, as in our case with a couple of washerwomen who get water from a well and a woman who sells apples to a traveler. Active in Rome between 1640 and 1642 - known here with the nickname of 'Flemish Thomas' - his style was strongly influenced by this Italian stay, and in particular by the contact with that group of Nordic painters, almost all Dutch, working in Rome in the full seventeenth century, called Bamboccianti. The proposed canvas is in fact part of the typical “bambocciate” trend, in the execution of which the echoes of the representations by the school leader Pieter van Laer...

Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep, Cows and a Goat in a Landscape oil on relined canvas canvas size 56 x 53 cm frame i...

Felice Torelli (Verona 1667 - Bologna 1748) Rachel Hiding the Idols Oil on canvas, 41 x 116 cm without frame - 52,5 x 127 cm with frame Original shape...

Giustino Menescardi (Milan, c. 1720 - Venice, after 1779) Ascent of Calvary Oil on canvas, cm. 47 x 36 - with frame cm. 57x43 Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

Cristofano Roncalli (Pomarance 1552 - Rome 1626) Saint Catherine of Siena chooses the crown of thorns oil on wood, cm. 101,5x59.5 - with frame cm. 120x76 Shaped, carved and sculpted wooden cassetta frame, partly gilded and partly ebonized wood Expertise: Marco Ciampolini The marvellous scene that opens before our eyes is that of Christ's apparition to Saint Catherine of Siena; she must choose between a golden crown, the symbol of earthly royalty, and a crown of thorns, the symbol of virtuous Christian sacrifice. Catherine does not hesitate to choose the crown of thorns, her life in imitation of...

Oil paint on wood by Aelbert Cuyp ( 1620-1691 ), Dutch. Signed lower left: A. Cuyp. Framed. Measurements: 9.72 x 13.58 in ( 24,7 x 34,5 cm ), framed: 17.2...

Antonio Stom (Venice c. 1688 - 1734) Architectural Capriccio oil on canvas, cm. 88 x 113 - with frame cm. 106 x 132 Carved, sculpted and gilded wooden frame Expertise: Giancarlo S...

David Teniers the Younger (1610-1690) Follower of A Peasant Removing a Plaster: The Sense of Touch signed T on the table oil on panel panel size 7,20 x 5,55 inches (18,3 x 14,4 cm)...

Oil painting on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a la...

Oil painting on canvas. Neapolitan school of the eighteenth century. The scene, located near the sea, is dominated by a large complex of architectural ruins, with statues, arches, ha...

Giovan Battista Discepoli, called the Zoppo from Lugano [Castagnola (Lugano) 1590 - Lugano 1654] Coronation of Thorns Oil on panel, cm. 34.2x39.5 – with frame cm. 46x52 Shaped and ...

Scipione Compagno (active in Naples in XVII century) Crucifixion Oil on canvas, cm. 64 x 52,5 - with frame cm. 80 x 67 Antique wooden cassetta frame carved, sculpted and gilded by Mecca technique Expertise: Nicola Spinosa Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

Paolo Monaldi (attr.) Rome, 1710 - after 1779 Peasants playing cards Oil on canvas, cm 31x40,5 - with frame cm. 43,5x52 Carved and gilded wooden frame Famous for his production of...

This painting is added to the corpus of Jans Frans Van Bloemen by an expertise of professor Giancarlo Sestrieri. The Van Bloemen were a family of painter. Jans, born in Antwerp, prob...

Gaspare Diziani (Belluno, 1689 - Venice, 17 August 1767) Gilded, carved and sculpted wooden cassetta frame Expertise: Ugo Ruggeri The narration of our...

Artist/ School: 17th Century Dutch School Title: An Extensive River Landscape with Figures in the foreground Medium: oil painting on canvas, framed Pai...

Giuseppe Antonio Pianca (Agnona di Borgosesia/VC, 1703 - after 1757) oil on canvas, cm. 49 x 57 - with frame cm. 67 x 77 Antique shaped wooden cassetta frame, ebony and gold decora...

Hawk Attacking A Duck, 17th/18th Century circle of Adriaen DE GRYEFF (1657-1722) Fine huge 17th Century Dutch Old Master scene of a hawk attacking...

PIETER MULIER KNOWN AS TEMPESTA Haarlem, 1637 - Milan, 1701 Landscape Oil on canvas, cm 49x65 - with frame cm 62x78 Gilded and shaped frame Expertise:...

Simone Cantarini (Pesaro 1612 - Verona 1648) Adoration of the Magi Oil on paper applied to canvas, cm. 16,5 x 24 – with frame cm. 22 x 29 Antique sh...

Provenance: The Marchesi Strozzi, Palazzo Strozzi, Florence Sale, Christie’s, London, May 20, 1993, lot 315, as by Carl Borromaus Andreas Ruthart...

Marco Ricci (Belluno 1676 - Venice 1730) attributable to Coastal landscape with port city and boats oil painting on canvas 82 x 126 cm., In gilded frame 93 x 137 cm. Provenance: purchased by the previous owners around 1970 in Vienna, at the Hofstätter Gallery (as Marco Ricci) We present with great pleasure this vast and harmonious composition of a coastal view with a fortified city overlooking the sea and a rocky cove in the foreground with several boats, including a vessel. The work, coming from a prestigious Austrian collection, bears a historical attribution to the sphere of Marco Ricci (Belluno 1676 - Venice 1730) who, by virtue of the stringent compositional and stylistic similarities that we can find with the autograph works of the Venetian master, we feel we can confirm. Our marina wisely combines elements taken from life with elements drawn from the author's imagination, set within a wide-ranging perspective framework; the canvas is then enveloped in a diffused but natural luminosity, evoking that sense of atmosphere which is a prelude to eighteenth-century vedutism, but without having those markedly rocaille characteristics. Among the innovations introduced by Marco Ricci in landscape painting, and which we find in our beautiful painting, there is the experimentation of light in its possibilities of atmospheric rendering. The painting in question shares many details with the master's works, such as the mountain ranges that dissolve into the background taking on silvery tones, the tree motif in the foreground and the classic rocky spur, as well as the small figures that animate the scene and still the city ​​on the coast dotted with bell towers and towers, in addition to the compositional cut of the view that expands in depth in a modulated succession of perspective plans. Finally, we can trace the characteristic light effects of the master, highlighted here by the cleaning intervention just carried out in our restoration laboratory, previously obscured by an amber paint that prevented the correct reading of the pictorial material. Trained on the study of the great Venetian tradition and, above all, on Titian's models, Marco Ricci had started his painting activity in the workshop of his uncle Sebastiano. After an important trip to England and Holland, the direct knowledge of Nordic painting - in particular of the works of Johann Anton Eismann, Pieter Mulier...

Portrait Of A Zampogna Player, 18th Century Circa 1770 Italian School Oil On Canvas Fine Large 18th Century Italian School portrait of a young gentleman holding a Zampogna, oil o...

Artist: Oriental School, 18th century Title: Chinoiserie scene, figures fishing by a pond Medium: oil painting on canvas, unframed canvas: 29.25 x 52.25 inches Provenance: from a pri...

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

Figures & Cattle In A River Landscape, 17th Century School of Johann Melchior Roos (1663-1731) Fine large 17th Century German classical landscap...

Jesus Feeding The 5000, 17th Century School Of NICOLAS POUSSIN (1595-1665) Fine huge 17th Italian Old Master of Jesus Feeding The 5000, oil on canvas. Stunning panoramic early and ...

17th Century Old Master, Figurative and Landscape Painting by Jan Van der Bent So far, little is known about the life and work of Jan van der Bent. He was...

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...

Circle of Jan van Huchtenburg Landscape Scene with a Soldiers Camp Oil on Canvas, 41 x 55 cm Soldier Camp Life Scene together with a wonderful golden Frame

Oil painting on canvas. The large landscape is dominated by an imposing architectural structure with columns overlooking the sea, which occupies the entire central part of the canvas...

A rare gem of a painting, a Georgian era oil painting showing busy maritime scene with figures on the shoreline. As good as a canaletto!! WILLIAM ANDERSON British 1757 - 1837 "Isle of Wight...

In this painting, Gabriel de Saint-Aubin, the great chronicler of the reign of Louis XV, takes us to the annual parade of the Swiss Guards at the Plaine de...

Portrait of a young girl, full-length, wearing a blue silk gown, standing on a terrace beside a classical urn holding a branch with blossom. Attributed to John Riley...

The White Horse by George Morland (1763- 1804) Oil on Canvas. Total size including painting and frame: 81cm x 94cm x 7cm Housed in an ornate contemporary heavy gilt frame. Clearly ...

Attributed to William Marlow (English, 1740-1813) Elegant Figures alongside the River Wye 1790 131 x 152 cm, inc. frame This quiet bucolic scene shows figur...

Original Oil on Canvas, probably of Dutch School, of the mid-18th Century. Wood Lable attributing the work to E. Williams Senior. Small restoration, otherwise very good condition.

River landscape with popular life scene Oil painting on canvas 62 x 98 Framed 74 x 110 cm. We present this vast and harmonious composition, where a characteristic river landscape acts as a stage for an exquisite extract of popular life, set in a small village on the edge of a lush stream. The painting, which presents characters unequivocally linked to the Flemish culture of the second half of the 17th century, shows iconographic and stylistic correspondences, in particular, with the successful production of Adrien Frans Boudewijns (1644-1711) and Pieter Bout (1658- 1719). Aside from the figure of duck hunter...

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...

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...

Roman landscape painter of the eighteenth century - Entourage by Paolo Anesi (Rome 1697 - 1773) River landscape of the Lazio countryside, with the Tiber fl...

River Landscape With Figures In Boats, 17th Century Circle of Jan Josefsz Van Goyen (1596-1656) Large 17th Century Dutch Old Master river landscape with figures, oil on panel ini...

Pandolfo Reschi known as Monsù Pandolfo (Danzica 1643 - Florence 1699), attributable Coastal landscape with fortified city, castle with tower, and battle scene oil painting on canvas Measurements: canvas 90 x 120, with frame 104 x 134 This expansive coastal landscape, with a fortress-city overlooking the sea and a small castle with a watchtower, serves as the stage for an eventful battle scene between soldiers and, presumably, a band of brigands. It is an illustrative typology attributable to Pandolfo Reschi (Danzica 1643 - Florence 1696), known for his works in which he perfectly combines the airy landscape of Tuscan-Roman matrix with images of knights in battle or brigands intent on their raids. Pandolfo Reschi was born in Gdansk but from an early age he moved to Rome where he began his brilliant career following the style of Salvator Rosa, even if his real teacher was the Flemish-Italianized Livio Mehus. With Mehus and Rosa he refined his skills as a battle painter and was later taken to the workshop by the Borgognone, even if his main occupation was that of a genre painter. The decisive turning point in his career came after his transfer to Florence, around the middle of 1660, where he continued his studies with Livio Mehus. After a decade he was now an established and highly coveted painter, so much so that in 1670 he was hired by the Medici court as protege of Cardinal Francesco Maria de Medici...

Holy Baptism, Oil painting on canvas by an unknown artist About the artwork: Bible Scene, Early 18th Century, Florentine School TECHNIQUE: oil pai...

Here is a set of four 18th century Italian paintings depicting various romantic dramas. All four painted in old world style and presented in the original stretchers and frames. Findi...

The Battle Of Sluys (1340), oil on canvas Rare account of the opening engagement of The Hundred Years War (1337-1453) Fine huge scene of the Battle Of Sluys between the English and...

Ancient monuments is an original painting realized by Vinzenz Fischer (1729-1810) in the late 18th century. Mixed colored oil painting on canvas. This beautiful artwork represents ...

Landscape with figures is an original oil on canvas realized in the XVIII Century by a Venetian School Master. Original oil painting on Canvas. The painting represents a beautiful...

Travellers In A Mountain River Landscape, 17th Century Studio of Maerten RYCKAERT (1587-1631) Large 17th Century Flemish mountain river landscape with travellers, oil on canvas. E...

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...

Figure In A Landscape, dated 1915 by Sir Herbert Edwin Pelham Hughes Stanton (1870-1937) similar to $20,000 Large 1915 view of a figire in an extensive landscape, possibly near Mo...

Pair of Antique 17th Century Floral Still Life Paintings, Attributed to Vincenzino Italian, second half 17th Century Dimensions: Frame height 111cm, width 170cm, depth 7cm; Canvas he...

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...