Oil Paintings

Attributed to Jan Gerritsz. Stockman (1603–1661) "Paesaggio Classico con Figure" (Classical Landscape with Figures) Medium: Oil on canvas Dimensions (Framed): 162 x 146 cm Dimensions...

Ciro Ferri (Rome 1634 - 1689) circle of - San Giovanni Battista. 80 x 103 cm without frame, 94 x 118 cm with frame. Antique oil painting on canvas, in an antique 17th century frame...

Military Camp Scene and Battle. Pietro Graziani (XVII/XVIII century), entourage. A pair ( two) of small paintings. Antique XIX century frames in gilt wood.  In good condition. Oi...

An extraordinary example of Alessandro Bernardino Deho's grotesque and fantastic production, this painting illustrates an imaginative scene in which anthropomorphic insects and dwarv...

A large pair of 18th century veduta capriccio scenes with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The paintings are presented in more modern carved gilt ...

A charming oil study depicting a woman gathering grape vines in a field. Part of a pair of oils depicting women harvesting. Unsigned. On panel.

Umbrian-Roman Master (16th-17th century) - Praying Madonna. 84 x 58.5 cm without frame, 96 x 70.5 cm with frame. Antique oil painting on canvas, in wooden frame. Condition report:...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

St. Nicholas of Tolentino (1245-1305) Italian School, 17th century oil painting on canvas, canvas: 10 x 8 inches provenance: private collection, Germany Very fine and rare 17th century Italian Old...

Together with his son Pietro Neri, Andrea Scacciati was active at the Medici court and is well known for his still lifes with flowers. His works display both Roman and northern influ...

Attributed to Juan Bautista Martínez del Mazo (Castile 1611 - Madrid 1667) pupil and collaborator of Diego Velázquez Portrait of Charles II, King of Spain, as a child (1661 -1700) Spain, c. 1670 Oil on canvas 68 x 49 cm. - In antique frame 96 x 75 cm. The analysis of this portrait, and in particular the style with which its features have been outlined, brings us back to the great tradition of the 17th century Spanish school. The portrait depicts the young King Charles II of Spain, dressed in typical Spanish fashion, the youngest and only son of Philip IV of Spain and his second wife Maria Anna of Austria, as well as the last of the Habsburg dynasty to rule Spain. which portrayed the young ruler in full length at the age of four (dated 1665), dressed in a black suit and cape, and a large feathered...

The Close of Day Italian School, 17th century circle of Salvator Rosa (1615 - 1873) (ascribed to this artist on a frame plaque) oil on canvas, framed Framed: 20.5 x 25.5 inches Canva...

Work on canvas Work re-lined Plaster and gilded wood frame 86 x 105 x 7 cm

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Alms for the Poor by Richard Brakenburg (Flemish 1650-1702) oil on canvas, unframed Canvas: 25 x 30 inches Provenance: private collection, France, extensively inscribed verso Conditi...

Jan van Gelder, Italianised as Giovanni Vangheldri (Antwerp 1621 – Modena 1685) Portrait of the Duchess Vittoria Farnese d'Este (Parma, 1618 – Modena, 1649) wife of Francesco I d'E...

Flemish painter 17th-18th century Construction of the Tower of Babel Oil on canvas 51 x 64 cm Framed 66 x 78 cm If there is a subject in art that has been taken up several times t...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Attributed to Antonio Calza (1653–1725, Verona) "Soldier on Horseback" Oil on panel Diameter: 26 cm This striking oil painting on panel, attributed to the renowned Italian Baroque pa...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

In the foreground, we see two conquistadors and three natives accompanying them landing on the shore, presumably on a reconnaissance mission in an unfamiliar bay. Perhaps they are in...

This painting, attributed to the circle of Peter Paul Rubens, presents a classic depiction of the Johannesschüssel—the severed head of John the Baptist on a platter. While Rubens him...

Thomas Spencer (British, active c. 1740-1756) A Portrait of Flying Childers Oil on canvas With an incorrect label "a racehorse second at new market by John Wotton” With an indistinct...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Portrait of a Gentleman in Armour beside a Table with Helmut c.1685 Follower or circle of Johann Kerseboom (d.1708) This exquisite Grand Manner work, presented by Titan Fine Art, wa...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

A late 18th Century oil on canvas laid on board of a young beauty in period costume carrying a basket of flowers on her head. Presented in a very fine gilt, period 'Directoire' frame...

This charming mid-18th-century oil painting depicts a veritable array of revellers holding a feast by a tavern. It’s after a work by Flemish artist, David Teniers the Younger (1610-1...

Orpheus is an original artwork realized in the first decades of the XVII century and attributed to the Italian master Tommaso Salini. Oil painting on canvas. A golden wood frame is...

Madonna & Child, 18th Century Follower of Andrea del Sarto (1486-1530) Large 18th Century Italian School Old Master depiction of the Madonna & Child, oil on canvas. Excellent quali...

Oil on canvase realized by Giovanni Francesco Romanelli, so called "Il Viterbese" (1610-1662). It depicts the famous abduction of Persephone, daughter of Zeus and Demeter, by Hades....

Good condition overall. With beautiful carved wooden frame. All of our works are covered by our own guarantee of authenticity which covers the work for its lifetime of ownership wit...

Judith With The head Of Holofernes, 17th Century School of CARLO MARATTA (1625-1713) Large 17th Century Italian Old Master oval depiction of Judith With The Head Of Holofernes, oil...

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...

Nicolas Poussin (Les Andelys 1594 - Rome 1665) Workshop of Little Moses found by Pharaoh's daughter Oil painting on canvas Measurements: canvas 45 x 59 cm., in frame 57 x 71 cm. We present this splendid work representing the episode, taken from the Old Testament, of the finding of little Moses by the daughter of the Pharaoh (Exodus 2, 1-10), and which reveals from the first glance the unequivocal pictorial style of the painter. Nicolas Poussin (Les Andelys 1594 - Rome 1665). Poussin spent most of his life in Rome giving life to works capable of fusing the ideal of French classicism...

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

Italian school circa 1560, circle of Bernardino Campi Portrait of a woman with a book Oil on panel H. 78 cm ; L. 57cm

Wonderful Italian painting from the first half of the 18th century. Oil on canvas artwork depicting a fascinating biblical story, the beheading of the Babylonian leader Holofernes by...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

Follower of Titian (18th century) - Penitent Magdalene. 35.5 x 25 cm without frame, 48.5 x 38.5 cm with frame. Ancient oil painting on panel, in a carved and gilded wooden frame. ...

Portrait of an elegant British lady with a white silk dress and a pearl necklace. British School, close to Peter Lely.

Very good condition with original canvas, stretcher and frame.

This exquisite Grand Manner work, presented by Titan Fine Art, is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully ...

This fine oil on canvas, attributable to a late 17th-century Venetian artist, is a coeval copy of the famous portrait by Pieter Paul Rubens, documented in the collections of Cosimo I...

Tiberio Titi (Florence, Italy, 1573 – 1638) Title: Portrait of a Gentleman Medium: Oil on panel Dimensions: Without frame 122 x 91 cm – with frame 162 x 133 x 10 cm Publications: G...

Ornamental Fowl Fighting, circa 1700 attributed to MARMADUKE CRADOCK (1660-1716) Large circa 1700 Scene of ornamental fowl defending the hen and chicks, oil on canvas attributed to...

An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

Rare pair of Italian paintings from the second half of the 17th century. Oil on canvas artworks depicting two splendid female figures recognizable thanks to the inscriptions at the b...

Oil on Canvas. North Italian school of the 17th-18th centuries. The scene has in its center the figure of the Risen Christ who, seated on the clouds, holds the Cross with one hand an...

John Nost Sartorius (London 1759-1828) A bay horse in a wooded landscape Signed 'J.N.Sartorius' lower right Oil on canvas Canvas Size - 12 x 14 in Framed Size - 19 x 21 in John Nost...

Martin van Meytens (Stockholm 1695 - Vienna 1770) Portrait of Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) Portrait of Emperor Francis I of Lorraine (1708 - 1765) oil on ...

Stephen Elmer (Farnham 1715-1796) A Covey of Partridges in a landscape Oil on canvas Canvas Size 28 x 36 in Framed Size 32 x 43 in Elmer resided at Farnham, Surrey, where he was a m...

Pupil of Rembrandt Portrait of a Young Man 17th Century Oil on oak panel Image size: 4 1/4 x 5 inches (11 x 13 cm) Dutch ebonised frame This small portrait is of a young man, staring inquisitively out towards the viewer. The realism of his appearance is striking, with great care taken in the depiction of the man’s features - for example, his full lips and the slight bump in the bridge of his nose. The man wears a rich burgundy doublet and a black cap and is adorned with gold accessories, indicating a degree of wealth - it is likely that this is a miniature portrait for a wealthy patron. The warm flesh tones of this painting and the intricate rendering of the man’s curly brown hair demonstrate the artistry of the painter, who has successfully captured the image of youth within his brushstrokes. Rembrandt’s Pupils Upon completing his artistic education, Rembrandt opened a studio and began to take students - the first of which were Gerrit Dou and Isaac Jouderville. The studio functioned as an art school, in which materials and guidance were provided - contrary to the studios of his peers, Rembrandt did not offer lodging to his pupils. The families of prospective pupils had to pay Rembrandt 100 guilders (enough for a house at the time) for this artistic education, and the profits from any works produced by pupils under Rembrandt would be paid to the master rather than kept by the student-artist - this contributed substantially to  the master’s income.When taking on pupils, Rembrandt looked for those who could already paint, and guided their styles to reflect his. By choosing pupils who were somewhat experienced artists, Rembrandt had an array of painters that could be involved at any stage of assisting with the creation of his works - in this way, Rembrandt’s pupils often functioned as studio assistants as well. In order to perfect Rembrandt’s style, pupils would paint copies of their teacher’s works, sometimes adding their own distinct variations. They would use the same subjects and models as Rembrandt himself, and would accompany him on outdoor trips to paint nature and landscapes. The extensive copying and utilisation of same source materials has rendered Rembrandt’s work and the work of his pupils difficult to differentiate, even in the modern era.At least 50 pupils were taught by Rembrandt, with many continuing on to become his studio assistants. A few graduated into successful artists in their own right - for example, Govaert Flinck...

Francesco Tironi (Venice 1745 - Venice 1797) - Venetian landscape with shepherds and herds. 95 x 130 cm without frame, 107 x 140 cm with frame. Ancient oil painting on canvas, in a...

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...