Oil Paintings

Jacques STELLA (Lyon, 1596 - Paris, 1657) The Annunciation Oil on alabaster (single old break perfectly restored) H. 25 cm; W. 30 cm Son of François Stellaert, a painter of Flemish ...

Thomas Smith of Derby (c. 1710-1767) View of Shipping on the River Avon from Durdham Down, near Bristol, 1756 Oil on canvas Canvas size - 20 x 47 in Framed size - 26 x 53 in Provena...

We present this pair of fascinating coastal views, the fruit of the author's imagination, executed with an elegant descriptive taste and conceived with the scenographic sensitivity t...

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...

A head and shoulders portrait of a gentleman wearing a white powdered wig. The gentleman in question is as yet unknown but certainly has the look of an aristocrat. oil on canvas, housed in later gilt frame The painting is 57cm by 44cm (17½ x 22¼ inches high) whilst overall is 58½ x 71 cm (23 x 28 inches high) The condition overall is very good having had some restoration and also relined and cleaned. There is some cracquelure throughout and some areas of retouching a few minor abrasions and losses to the background mainly edges by frame non of which detract from this fine piece. Peter Lely...

Circle of Teniers, Peasants in a Landscape passing by a river and an Inn.

Circle of Ruisdael, Riders in a Landscape passing by a well

18th century style, “Young aristocrat with pet dog”

Christian Schildbach was a very talented artist with his own style. Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...

Landscape with martyrdom of Saint Stephen is an old master artwork realized in 17th century. Mixed colored oil painting on canvas. Includes coeval gilded frame cm. 148x196. The artwork is attributed to Vincent Adriaenssen called il Manciola (Antwerp, 1595 - Roma, 1675) Among the painters who worked in the first half of the seventeenth century it is possible to indicate only the Neapolitan Scipione Compagno (1624-1680) as the author of scenes of martyrs set within a landscape or a view such as, for example, the Martyrdom of Saint Stefano recently hesitated at the Ansorena in Madrid on June 16, 2021. It should be noted, however, that the landscape represented in the painting examined here, characterized by luxuriant vegetation, meticulously represented "in the Flemish style", shows differences with the typical settings of the paintings di Compagno, characterized above all by urban views, visionary architectures or rather arid vegetation. Even the refined figures, so elongated and lanky, represented in our painting, in particular the group of knights in the foreground on the right, are not reflected in the production of the Neapolitan painter. These elements, to which we add the depiction of the Eternal Father amidst the clouds and the detail of the dog in profile in the foreground, instead recall a painter mainly known as a battle soldier, but who was also the author of many works depicting episodes from ancient Rome set within luxuriant landscapes, or rather Vincent Adriaenssen known as Manciola, a painter from Antwerp whose figure has been shed light thanks to recent studies. The group of horsemen represented to the right of the examined painting is, in fact, comparable with other groups on horseback present in numerous works by Manciola such as, for example, in the Triumph of Caesar (Rome, Babuino, 23-03-2010; formerly Florence, Collection Privata, 2006), while similar elongated and somewhat lanky figures, dressed in red, yellow, blue and white, can be found in the three paintings conserved at the Cassa di Risparmio di Pesaro, which in the past were erroneously attributed to the Umbrian painter Francesco Allegrini...

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 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...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

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

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...

18th century French Rococo portrait of a young noble lady This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...

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...

Rocky Coastal Scene, 18th Century attributed to Joseph VERNET (1714-1789) 18th century French coastal scene of a ship in rough waters off a rocky coast, oil on canvas attributed t...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

Chickens & Other Birds In A Farmyard, 18th Century circle of Marmaduke CRADOCK (c.1660-1717) Fine 18th Century English School farmyard scene of var...

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...

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...

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 ...

One Christmas as a 12-year-old boy, John was given a set of oil paints and an easel. Painting revealed a whole new world of colour and texture, and even now, over 40 years later, he ...

(After) Sebastiano Conca (Gaeta 1680 - Naples 1764) The Adoration of the Shepherds oil on canvas, (cm): 122 x 100, framed The proposed table, datable in the first decades of the e...

The panels were designed ad decorations for 18th century french drugstores, and can be compared to those designed by the same Peyrotte (who was painter and furnitures designer for th...