18th Century Paintings

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Fra...

A pair of 18th century Italian landscapes with classical ruins and figures, circa 1750. Circle of Giovanni Panini (1691-1765) Thomas Agnew and Sons, Lo...

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

In this masterly painting, Francesco de Mura presents the meeting of Herminia and the shepherds, a famous episode taken from the seventh canto of Torquato Tasso's Jerusalem Delivered...

Jean-Baptiste Perroneau (Paris, 1715 – Amsterdam, 1783) Portrait of a lady Oil on oval canvas 60 x 50 cm. - In frame 77 x 66 cm. Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l’Europe des Lumières Excerpt from the expertise of Dr. Colace: This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a very talented French painter, whose most beautiful works are located, just like this one, between the fifth and sixth decades of the eighteenth century. "Perroneaeu is more naturally colored than La Tour, the est, in the peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": this is how his brothers wrote about him in La Maison d...

The Venetian Canal Italian artist, 18th century circle of Francesco Guardi (Italian 1712-1793) oil on canvas, framed framed: 23.5 x 32.5 inches canvas: 20 x 29.5 inches provenance: p...

French school late 18th Century Portrait of a young man oil on metal 10.2 x 7.7 cm Framed under glass : 24.4 x 21.8 cm This small portrait painting, quite original in its technique...

John Nost Sartorius (London 1759-1828) Gimcrack with jockey up, wearing the colours of Richard Grosvenor, 1st Earl Grosvenor Inscribed and signed 'Gi...

Portrait of Henri-Louis de la Tour d'Auvergne, Comte d'Evreux Studio of Hyacinthe Rigaud (1659-1743) Early 18th century French school, circa 1705 Oil on canvas Dimensions: h. 72 cm, w. 57.5 cm Louis XIV period gilded and richly carved wood frame with flowered corners. Framed: h. 96 cm, w. 80 cm Henri-Louis de la Tour d'Auvergne (1679-1753), Count of Evreux at the age of 24. The young man is depicted standing, seen at mid-height, turned three-quarters, against a background of a sky filled with cannon smoke. Head turned to the left, a large wig falling over his shoulders, a youthful face with plain cheeks, a delicate smile from thin lips, a gentle, benevolent facial expression. The right hand rests on the command staff in the foreground, while the left arm is bent and the hand rests on the hip. He is wearing a white sash of command, the floating drapery of which appears to his right. Fully armored, his only visible adornments are the blue velvet facings at the joins of the armor pieces and the sleeves of fine white lace. Power and charisma emanate from this military portrait. The young man's stature, bearing and head carriage convey the image of a valiant warrior. The theatrical lighting abundantly illuminates the face and creates strong metallic reflections in the armor. Despite his static stance, the hair blowing in the wind enlivens the painting, lending a dynamism and vigor that amplify the model's belligerent attitude. Our work is a studio version by Hyacinthe Rigaud, the original of which was executed by the artist himself in 1703. This original portrait of the Comte d'Evreux is now housed in the Gemälde Galerie - Alte Meister in the collections of the Kassel Museum. This portrait, one of the artist's most successful, was exhibited in 1704 at the Salon de l'Académie des Beaux-Arts and received rave reviews. As for the Compte d'Evreux, as soon as the original was created, he was satisfied with the artist's work and directly commissioned several replicas, which were executed by the studio between 1703 and 1705. These studio versions, as in the case of our painting, were intended as gifts from the Count to his wartime companions or members of his family. Our work is listed in the catalog raisonné of Hyacinthe Rigaud written by the artist's specialist Mr. Stéphane Perreau (published in 2004) Provenance: former private collection in Dijon, Burgundy Henri-Louis de la Tour d'Auvergne, le comte d'Evreux was the fourth son of the Duc de Bouillon, Godefroy-Maurice de La Tour...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

Claude-Joseph Vernet (Avignon, 1714 - Paris, 1789) workshop of The Storm on the Lighthouse 1750/60 Technique: Oil on canvas Dimensions: 48 x 67 cm / framed 77 x 93 cm We share a highly pleasing work, a splendid marine executed by a talented painter from the workshop of the Frenchman Claude-Joseph Vernet, depicting a coastal view set in a Mediterranean port with the sea still stormy. The focal point of the composition is the large lighthouse at the entrance to the port, which, due to the power of the sea, was unable to bring to safety the ship that had crashed against the rocks, while the silhouette of a second sailing ship can be glimpsed in the distance. The canvas shows in full the pictorial, chromatic and narrative characteristics of the great master Vernet's coastal landscapes, characterised by the inimitable atmospheric conditions always hovering between darkness and light, storm and calm, instilling the observer with contrasting feelings, made even more intense by a palette of vibrant and highly contrasting colours. A similar composition, from which our author must necessarily have drawn, also attributed to the workshop of Claude Joseph Vernet is to be found in France, in Nantes, at the Musée d'Arts.  The effects of the light create a visual drama in the contrast between the darkness of the rain-laden storm clouds and the gash of clear sky that is opening up, pierced by the timid rays of light. The real magic of the painting is the painter's highly personal use of light and colour, with chiaroscuro effects that accentuate its three-dimensionality and movement.
 The compositional typology, as well as the quality of execution and attention to detail we are dealing with, are typical elements of the 'prototypes' conceived by the master, later taken up around the middle of the 18th century by his best pupils. Similar versions can be found in the most important international museums and private collections, belonging to a large series of paintings that the master created, together with his collaborators, during his stay in Italy. Vernet lived in Rome for twenty years (1734 - 1753), becoming particularly popular with English aristocrats who stopped there on their Grand Tour. International fame followed him from Rome to France, and to his English and French clients he added German princes...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

Bernard Lucas Sanz (Germany, 1650 - Bergamo post 1710) Saint Alexander Oil on canvas (98 x 72 cm./ In frame 125 x 96 cm.) The painting, depicting Saint Alexander of Bergamo and data...

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

Peruvian 18 century Spanish colonial

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

This superb British Old Master portrait is by noted artist Lemuel Francis Abbott. Painted circa 1790, the composition is a half-length standing portrait of a gentleman gazing to his ...

James Stark (1794-1859) Herding cattle through a wooded river landscape Oil on canvas Canvas Size 18 x 24 in Framed Size 23 x 29 in James Stark (1794-1859): A Pioneer in Landscape P...

Portrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...

John Ferneley Snr (1782-1860 Melton Mowbray) Sir Richard Sutton's foxhounds signed J. Ferneley lower right Oil on canvas Canvas Size 16 1/8 x 20 1/2 in Framed Size 21 x 25 in Proven...

A very skilfully captured portrait of a handsome young gentleman. The painter, in the circle of Sir Willliam Beechey, has imparted great character and vitality to the sitter, giving ...

This superb British Old Master marine oil painting is attributed to Peter Monamy. Painted circa 1730 it depicts Morning Gun - A morning gun is a gun fired at the first note of revei...

Stormy Seas English School, 18th century oil on thick wood panel, unframed panel: 25 x 30 inches provenance: private collection, East Anglia, England condition: very good and sound c...

Portrait of William Shakespeare British artist, 18th century oil on canvas, unframed canvas: 24 x 18 inches provenance: private collection, England condition: very good and sound con...

Portrait of John Hervey, 1st Earl of Bristol (1665-1751). Early 18th-century near-life-size portrait of a noble man richly dressed in a long wig. Circle of the German-British cour...

Étienne Jeaurat (Vermenton 1699 - Versailles 1789) Game of children intent on harvesting grain (Allegory of Summer) Mid-18th century Oil on canvas 97 x 129 cm - Framed cm. 112 x 14...

Louis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...

Sawrey Gilpin (1733-1807) Study of a hound in a landscape Oil on canvas Canvas Size - 14 x 17 in Framed Size - 17 x 20 in Provenance: Victor Brockbank Fine Art, London; Private Collection, London. Sawrey Gilpin was a member of an old Cumberland family who chose a career in sporting painting, at which he was encouraged as a young man by the great Duke of Cumberland who had suppressed the Jacobite rising of 1745. Gilpin, though centred on London, always retained his Northern links, and had as patron many northern sportsman, like the sporting fanatic Colonel Thornton of Thornville Royal for whom he painted numerous pictures. Gilpin has suffered from being under the shadow of his incomparable contemporary George Stubbs, but he emerges as a leading horse and animal painter of a competence which is always reliable and occasionally inspired. He is an important link between the early English School of Wootton, Tillemans and the like, and the later painters exemplified by Ferneley and Herring. He was the president of the Society of Artists in 1773, and was elected RA in 1797. A clubbable man, he was popular with his fellow Royal Academicians. He frequently collaborated with them, adding portraits of favourite animals to numerous pictures by Barret, Walton, Romney, Zoffany, Reinagle and even the young Turner. He was the teacher of Thomas Gooch...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

Bolognese painter (18th-19th century) - Maddalena. 70 x 50 cm without frame, 89 x 69 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. Condition ...

A superb British Old Master marine oil painting by Peter Monamy. Painted circa 1730 it depicts the Royal navy first and third rate men o war firing a salute....

Pair of oval paintings measuring 66 x 89 cm without frame and 90 x 115 cm with coeval frame depicting two gallant moments during a rest from hunting by painter Hendrik Van Limborch (...

The New Born Baby (a version of the Nativity?) Dutch School, 18th century oil on canvas, framed framed: 21 x 18 inches canvas: 18 x 15 inches provenance: private collection, Europe c...

This superb British Old Master oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1795, the sitter is Major-General James Hanson Salmond (1766–1837) an office...

Portraits of a Lady, Dorothy and Jane Wood c.1750, Fine Carved Frames By John Theodore Heins (1697-1756) Titan Fine Art present these works, which formed part of a collection of family heirlooms of the Wood family who were from Bracon Ash, Norfolk, since the medieval period. Jane’s daughter Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The paintings descended within the family for around 275 years until recent and are exquisite examples of Georgian portraiture in England and are some of the best works by the artist. The original hand carved and gilded pierced frames are magnificent works of art in their own right. The sitters were two children, out of several, of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). The family is from Norwich, which in 1720 was a city second in importance only to London. Their aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. Dorothy Wood (in the blue dress) was baptised 2nd June 1726 and she died unmarried around 1759. Jane (in the pink dress) gave birth to at least six children during her thirty two-year marriage. She was baptised 14 Oct 1727 at Bracon Ash. Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. According to Payne’s Universal Chronicle or Weekly Gazette the marriage took place on 7th July 1758. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet, who was Sheriff in 1710, and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual and in 1779 he gave the corporation of Norwich 100 pounds, to be disposed of as they might think proper, and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Such discrimination probably lies behind the why their children are included in the registers of both the Anglican church in Tacolneston and the Norwich Catholic church in the 1760s. Jane and Knipe had one son, Thomas, who died at the age of four of a small-pox inoculation in 1762 (memorial stones in the Church of All Saints, Tacolneston) and many daughters who were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) was born at Tacolneston Hall. She came to the convent 30 Sept 1774 and ten days later she went to Dames St Sacrament, Rue St Louis in Paris. Their second daughter, Dorothy (died suddenly of apoplexy 21st Nov 1813), came to the convent 19th July 1777 when she was 16 years old and returned to England 23 March 1779. Frances (baptised 22 Feb 1763) came to the convent 16th April 1772 when she was 9 years old and returned 29th May 1777 – however she returned again to the convent 16th May 1778 and left 15th Oct 1778 to return home again. She later married and her surname became Negri. Another daughter, Jane, is thought to have married Juan Manuel Martinez in 1784. There was also another daughter, Mary. The eldest daughter, Ann, first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She then married on 9th July 1799, Dr William Compton (1733- Clifton 1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton (he had earlier marriages to Caroline and Catherine). William Compton later retired from the Commons and spent many years on the continent acting as Chancellor of Ely by proxy from 1777 for the remainder of his life. The couple were British residents of Posilipo Naples and the marriage was hosted on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a sale that raised worldwide interest in 2023, for £20,160. The document is accompanied by a contemporary manuscript account of the wedding, headed 'Paragraph for the papers, sent to Messrs Coutts & Co with request to have it inserted'. Lord Nelson was a household name in Britain due to his many victories, including the Battle of the Nile against the French Navy in August 1798 – which came before the Battle of Trafalgar in 1805. The document states: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

Late 17th, early 18th century old master oil painting depicting an allegory of Lady Justice holding demons at bay Our painting, likely a sketch for a much larger work,, conveys a pr...

A rare and most attractive still life by William Smith of Chichester. The sumptuous textures of the peaches and grapes contrasting with the dark background. A really handsome 18th Ce...

The price is intended for the couple of paintings. Expertise by Prof. Giancarlo Sestieri. This pair of paintings by Giovanni Domenico Gambone (1720 – 1793) depicts an architectura...

Expertise by Prof. Giancarlo Sestieri. Vincenzo Re (Parma, 1695 – Napoli?, 1762) born in Parma, was an Italian scenic designer who during his career worked as initially an assistant...

Frame in lacquered and gilded wood. The painting is mentioned in Dizionario Biografico degli Italiani Treccani in the biography of the artist.

Oral Expertise by Lisa Greaves. Hendrick Govaerts' work takes place between two centuries: between the end of the 17th and the beginning of the 18th century. Flemish by origin, his ...

Expertise by prof. Giancarlo Sestieri. Vincenzo Re (Parma, 1695 – Napoli?, 1762) born in Parma, was an Italian scenic designer who during his career worked initially as an assistant...

Publications: - Expertise by Prof. Sandro Bellesi; - S. Bellesi, in Pittura e Scultura a Firenze (secoli XVI-XIX), Florence 2017, p. 111. Matteo Bonechi (Florence, 1669 – 1756) wa...

With a "cassetta" frame in gilded and carved wood. Publications: - Expertise by Prof. Egidio Martini; - G. M. Guidetti, in From Sacro to Profano. The Giorgio Baratti...

Original "cassetta" frame in carved, gilded wood. Expertise by Prof. Giancarlo Sestieri.

This interesting Italian 18th century Old Master oil painting is by noted artist Marco Marcola, also known as Marco Marcuola. It was painted circa 1770 and has excellent provenance. ...

Original "cassetta" frame in carved and gilded wood. Expertise by Prof. Giancarlo Sestieri.

Dutch painter (18th-19th century) - The spanking. 60 x 99 cm without frame, 67 x 106 cm with frame. Antique oil painting on wood, without frame. Condition report: Wooden support s...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting h...

after RAFFAELLO SANZIO (Urbino, 1483 - Rome, 1520), The Parnassus with Apollo, the Muses and ancient and modern poets 17th-18th century Oil on canvas (123 x 173 cm - framed 137 x 187 cm.) This refined painting, of considerable size and great scenic effect, is a derivation of Raphael Sanzio's famous fresco depicting Mount Parnassus, datable to 1510-1511 and located in the Stanza della Segnatura, one of the four Vatican Rooms. The meaning of the subject was to celebrate humanistic culture, a sort of allegorical representation that saw both the figures of myth and those of the greatest authors of the past side by side in the same space. The scene, enveloped in a lyrical atmosphere, is set on Mount Parnassus, near the fountain Castalia, for Greek mythology the home of the Muses, where ancient and modern poets are depicted. The painting, which rather faithfully reproduces Raphael's piece with perfect harmony and great pictorial quality, is the work of an Italian author active between the 17th and 18th century. We can see the careful balancing of the light, which brings out its chromatic brilliance, and the accentuated sculptural relief that the author gave to the figures, as well as the very faithful rendering of the individual pictorial details of the figures. At the centre of the composition stands the main figure of the god Apollo, crowned with laurel and seated on a rocky boulder intent on playing the lyre from his arm, surrounded by the nine Muses...

Dusk Landscape British School, 18th century oil on canvas, unframed painting: 32 x 41 inches provenance: private collection, UK condition: very good and...

Philippe, Duke of Orléans (1674 -1723), Regent of France Workshop of Jean Baptiste Santerre (Magny en Vexin, 1658 - Paris, 1717) French school circa 17...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

A delightful painting, oil on paper laid on panel, with beautiful Gainsboresque colouring. This is a fine Old Master circa 1770 landscape in the 18th century Romantic landscape tradi...