19th century English warship off the Italian, Mediterranean coast, with village
Located in Woodbury, CT
Outstanding 19th century English warship off the Italian, Mediterranean coast, with village, mountains and hills. A very interesting and somewhat unique oil on slate depicting an English ship at anchor in what looks like an Italian or Mediterranean coastline. The piece has influences from John Thomas Serres...
Slate
Christ Supported by an Angel in the Garden of Gethsemane, On Slate
Located in Stockholm, SE
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...
Slate
$199,613
H 47.75 in W 66.5 in
Grand 19th Century English Marine Painting in Stunning Light
By John Wilson Ewbank
Located in London, GB
John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...
Oil
$1,640
H 41 in W 35 in
Victorian Oil Painting, Rural View Near Guildford, Surrey, British Landscape
Located in Cheltenham, GB
US buyers pay no import tariffs on this item. This late 19th-century oil painting by British painter George William Mote (1832-1909) depicts a shepherd and his flock before an exten...
Canvas, Oil
$19,450
H 18.51 in W 21.66 in D 0.48 in
Two Arcadic Landscapes - J.F. Van Bloemen (follower of) - Oil on Canvas
By Jan Frans van Bloemen (Orizzonte)
Located in Roma, IT
Two Arcadic Landscapes are a couple of original oil paintings by a follower of the Flemish artist, Jan Frans Van Bloemen (1662-1749). These old master's original paintings represen...
Oil
$9,502
H 26.5 in W 36.5 in D 3 in
19th Century landscape oil painting of a harvest in Derbyshire
Located in Nr Broadway, Worcestershire
George Turner British, (1843-1910) Harvesting near Barrow-on-Trent Oil on canvas, signed & dated (18)86, further inscribed verso Image size: 19.25 inches x 29.25 inches Size includ...
Canvas, Oil
$49,219
H 22 in W 28 in
1830's English Oil Storm Clouds Norfolk Landscape Norwich Cathedral River Yare
By (Circle of) John Constable
Located in Cirencester, Gloucestershire
Storm Clouds over the River Yare *see notes below English School, circa 1830's circle of John Constable (English 1776-187) oil painting on canvas, framed canvas: 18 x 25 inches condition: relined canvas, overall very good and presentable condition provenance: private European Collection A very beautiful, period depiction of the Norfolk landscape, with far reaching views over Norwich Cathedral...
Canvas, Oil
$5,304
H 25.6 in W 30.71 in D 1.97 in
19th Century Roman Landscape oil on canvas with Giltwood Frame
Located in Rome, IT
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...
Oil
$2,950
H 14 in W 12 in
Italian School, Late 17th Century Christ in the Garden of Gethsemane
Located in Woodbury, CT
Italian School, Late 17th Century (circa 1670–1700) Christ in the Garden of Gethsemane Oil on panel, in a carved and gilded Baroque frame The painting is unsigned A moving devotiona...
Copper
$32,813
H 33.5 in W 23.5 in
David with the Head of Goliath, 19th Century Victorian Oil
By John Rogers Herbert
Located in London, GB
John Rogers Herbert RA 1810- 1890 Oil on canvas, dated '1850' lower right on sword strap Image size: 33 ½ x 23 ½ inches Gilt Watts frame This striking painting, depicts David as a y...
Oil
$5,167Sale Price|35% Off
H 8 in W 10 in
Antique English 19th century marine scene
Located in Woodbury, CT
Outstanding English late 18th / early 19th century marine scene by one of Britain's best known and sought after painters. William (or Wiliam) Anderson (1757 – 27 May 1837) was a Scottish artist specializing in maritime and patriotic themes. He was well-regarded for his detailed and accurate portraits of ships under sail, exhibiting his works annually in London between 1787 and 1811 and then occasionally until 1834. Anderson influenced other artists, notably John Ward and others of the Hull school. Anderson's early life is obscure, but he is known to have trained as a shipwright before moving to London to become a maritime painter when he was about 30. His training served him well as a painter, providing "a practical nautical knowledge" of his subjects. He earned a reputation for "accuracy and refinement of detail" and was admired for his bright, clear colours. He worked in both oils and watercolours. He based his style on that of well-known Dutch maritime...
Oil, Wood Panel
$7,929
H 12.2 in W 15.7 in
17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto
By Abraham van Cuylenborch
Located in London, GB
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...
Oil
$6,865Sale Price|20% Off
H 24.81 in W 33.08 in
Rebecca At The Well Pietro Da Cortona Paint 17/18th Century Oil on canvas Italy
Located in Riva del Garda, IT
Rebecca at the Well Follower of Pietro da Cortona (Cortona 1596 - Rome 1669) Oil on canvas (50 x 66 cm. - Framed 63 x 84 cm.) The painting depicts the biblical episode from the...
Oil
$28,711
H 26.25 in W 37.25 in D 3.25 in
Pair of 19th Century military oil paintings of volunteer rifle soldiers
Located in Nr Broadway, Worcestershire
**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 26.25 INCHES X 37.25 INCHES** Frederick Henry Howard Harris British, (1829-1901) Volunteer Rifl...
Canvas, Oil
Sold
H 29.14 in W 26.78 in
Marie Madeleine Paint Oil on canvas 17th Century Old master Leonardo Italy Rome
Located in Riva del Garda, IT
Mary Magdalene Roman classicism of the 17th century Circle of Gian Domenico Cerrini (Perugia, 1609 - Rome, 1681) Oil on slate 54.5 x 47.5 cm. Framed 74 x 68 cm. A female character who has always been a favorite in art for her often contrasting faces, Mary Magdalene is beautifully portrayed here according to the canons of ideal beauty imposed by the classicism of the early 17th century With his hands he holds the ampoule of ointment (Maddalena mirrofora), its typical iconographic element, which the sinner used to perfume the feet of Jesus, who also refers to the episode of the discovery of the resurrection, when Mary went to the sepulcher for sprinkle the body of the Messiah with perfumed balm. Our Maddalene fully reflects the canons of classicism, whose aesthetic ideals tended to idealize the subjects portrayed: the Saint is in fact rendered with a classic pose, almost like an ancient statue, her hair neatly lifted by the wind and an ethereal expression, as well as the his white face. In particular, the work recalls, for style and compositional taste, the compositions of the Perugian Giovanni Domenico Cerrini, one of the most distinguished exponents of Roman classicism, and among the main collaborators of Guido Reni in his workshop in Rome. According to various sources, he would have also worked for Domenichino, until he himself acquired an independent artistic personality in Rome. Enjoying soon the favors of the Roman patrician families Spada and Rospigliosi, in particular thanks to the cardinals Bernardino Spada and Giulio Rospigliosi, Cerrini soon achieved great success, receiving many positions of the Roman curia and aristocracy. The painting is made in oil on a slate support, according to a widely used technique starting from the first half of the sixteenth century. On a collector level, painting on marble...
Slate