Vulcan & Diana, 16th/17th Century

Study Of Sparrow Hawks, 19th century by William Broderick (1814-1888) Large 19th century English study of a pair of Sparrow Hawks at their nest, oi...

Madonna of the Magnificat, 19th Century after BOTICELLI (1445-1510) Fine Large 19th Century Italian Old Master depiction of the Magnificent Madonna, oil on canvas. Excellent qualit...

The Brith Of Eve, 17th Century French School - Huge Piece Huge 17th Century French Old Master depiction of The Birth of Eve, oil on canvas. Huge scale early French Old Master unusu...

The Nativity, 16th Century Workshop of Joos VAN WINGHE (1542-1603) Large 16th century Netherlandish depiction of the Nativity, oil on panel from the ...

Portrait Of Roman Emperor Trajan (98-117 CE) Italian School - Huge Half Length Side Profile Huge 17th/18th Century Italian Old master...

The Virgin Reading From A Prayer Book, 17th Century School of Lodovico CARRACCI (1555-1619) 17th Century Italian Old Master depiction of the Virgin r...

The Education of Achilles by the Centaur Chiron Signed and dated "A.C. Chrétien 1861" (lower right) Oil on canvas A masterpiece of Frenc...

Oil on canvas. In the scene, placed in the middle of the clouds, the protagonist is a young man who, because of his winged feet, is recognizable as the god Mercury; he is surrounded ...

Fabrizio Boschi (Florence 1572-1642) Saint John the Baptist in the desert full-length Oil painting on canvas cm. 100 x 150, framed cm. 165 x 118 Expertise Prof. Emilio Negro (Bolog...

‘Le Femme en Noir’ by Eugène Accard (1824-1888). This fine 19th century French full-length portrait of a young Parisienne beauty is signed by the arti...

Pieter Mulier known as the Cavalier Tempesta (Haarlem 1637 - Milan 1701) The people of Moses after the crossing of the Red Sea oil on canvas, 90 x 135...

Rare late 16th century Spanish Old Master portrait of a young lady This fine, life-sized portrait depicts a young lady holding a red flower. She is wearing an elaborate and highly luxurious costume which is adorned with some very expensive jewels, such as the, golden bracelets and rings and the long pearl necklace and earrings. Given that pearls were a highly prized and expensive possession at the time, the large amount of them in this portrait emphasise the sitters' social status and wealth. The costume that our young lady is wearing can be identified as a Spanish court...

ANTONIO MOLINARI (Venice, 1655-1704) The Emperor Nero in front of the body of Agrippina Oil on canvas, 117.5 x 125 cm. in frame 135 x 145 cm. The ...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Signed indistinctly, lower right: Musfcher f. Provenance: Private Collection, London (according to a label on the reverse) with Newhouse Galleries, New York, as Caspar Netscher with Galerie N. Karger, Caracas, Venezuela, as Caspar Netscher Acquired by the grandmother of the previous owner, and by descent; offered Christie’s, New York, 26 October 2016, lot 144, as Caspar Netscher (withdrawn) Private Collection, Pennsylvania Michiel van Musscher...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...

William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich with symbolism, history, and intri...