Old Masters Paintings

Attributed to Antoine Felix Boisselier (19th Century) French 'Classical figures in a bed chamber Medium: oil on canvas, with inscription verso Size of pain...

Pausing for a Rest English School, circa 1800 the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inches canvas...

Classical Dutch Winter Scene signed, 20th century oil on canvas, framed canvas: 22.5 x 30 inches framed: 24 x 36 inches provenance: private collecti...

The Battlefield of Waterloo English School, 19th century original oil painting on canvas, framed canvas: 12 x 15.5 inches framed: 17.5 x 20.5 inches condition: overall very good and presentable, some former restoration and signs of retouching visible. provenance: from a private collection A very rare and historically important early painting, depicting the Waterloo battle...

Country scene - Oil on canvas cm.80x120, Giovanni Santaniello, Italy 2002 Gold gilded wooden frame available on request The painting by Giovanni Santaniello depicts a scene of return...

Harbor Scene Circle of Claude Joseph Vernet (French, 1714-1789) oil painting on canvas, framed in antique gilt frame framed: 20.5 x 25.5 canvas: 19 x 23.5 inches condition: very good...

Swans Startled by Dog Flemish Old Master, 18th century unsigned (as is typical of the period) oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches proven...

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...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

Fighting Dogs French Provincial School, 18th century oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canvas : 19 x ...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

A beautiful 18th century Dutch Old Master oil on panel depicting mountain goats in a landscape at sunset. Excellent quality work in very good original condition. The reverse of the ...

Style of Francesco Guardi (1712-1793) Venetian Canal Scene -Santa Maria della Salute from the Grand Canal Oil on canvas: 13 X 18 ¼ in. Frame: 18 ½ x 23 ½ in. Late 18th / early 19th century. Francesco Guardi was an Italian painter of veduta, nobleman, and a member of the Venetian School. He was born in Venice in 1712, the son of a minor painter, Domenico Guardi, and went on to become, after Canaletto, the main painter of views of Venice in the mid-18th century. His early figurative paintings were carried out in association with his brother, Gian Antonio, but in about 1760 Guardi turned to view painting, recording both the architecture of the city and the celebrations of its inhabitants in interior and exterior scenes. These works brought him great success. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Gallery notes: This fabulous Venetian scene is a work by a highly talented but unknown artist painting...

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:...

Artist/ School: Italian School, 17th century. Title: A King and Queen before court figures, amidst a classical landscape with Roman columns. Medium: oil painting on canvas, framed ...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

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...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

Pietro Antoniani (Milan circa 1740-1805) A view of Paesteum with Grand Tourists in the foreground Oil on canvas Painting Size 13 x 19 1/2 in Framed Size 17 x 24 in Provenance Sale,...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

This stunning Neo Classical French 19th century landscape oil painting is by acclaimed French artist Jean Victor Bertin. He was also an early proponent of sketching out doors and dir...

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their sails billowing and banners and flags blowing in the wind. The sea is also choppy and clouds race over head. It is an ambitious, busy nautical scene and Storck has perfectly captured the energy and movement of the ships and smaller vessels. This is an excellent example of a 17th century Dutch Old Master oil painting. Provenance: Part of a private collection of Flemish & European paintings. Koller Auctions in Switzerland in 2011. Bonhams 2020. Condition. Oil on canvas, 25 inches by 24 inches and in good condition. Frame. Housed in an ornate 23 carat gilt carved Lely period frame with name plate, 32 inches by 31 inches and in excellent condition. Abraham Storck (1644-1708) was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman. Storck was baptized in the Noorderkerk, a Protestant church in the Jordaan. His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting. Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour. Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen...

Biblical Figures, Large Gathering around Christ? Dutch Old Master, early 17th century oil painting on wood panel, stuck on velvet backing board velvet board: 27 x 29 inches board: 25.5 x 26 inches provenance: private collection, France condition: good and sound condition, obvious old panel...

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...

Venetian painter (late 19th century) - Venice, view of the Riva degli Schiavoni with carnival masks. 30 x 40 cm without frame, 46 x 53 cm with frame. Oil on panel, in a carved and ...

William Jones (c.1798-1860) Two spaniels working with a huntsman beyond Oil on canvas Canvas Size - 16 x 21 in Framed Size - 21 x 26 in William Jones’s wor...

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...

English 19th century portrait of a White / Grey hunter in a stable. Charles Towne was born in Wigan in 1763. He was trained as a coach painter, and by ...

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

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 has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

Moses with the Israelites before Parting the Red Sea circle of Matteo de Pitocchi (Italian 1626-1689) oil on canvas laid on board, framed framed: 26 x 48 inches canvas: 21 x 43 inche...

BEN MORE FROM AUCHLYNE ROAD oil, by Frederick Richard Lee & Thomas Sidney Cooper A beautiful 19th century landscape painting of the Scottish mountain (Munro) by the renowned artists Frederick Lee & Thomas Sidney Cooper The painting is an oil on board, signed by both artists and dated 1854.Housed in a gilt frame. The image size is 47cm x 62cm, whilst overall the size is 69cm x 85 cm The painting is in very good condition, having had a light clean. There is some slight crazing to the sky section as to be expected with age, ( see photo close ups with flash) the frame is also in very good condition. There is a handwritten label verso which reads Note: According to Cooper, it was during a visit to Lee in Devon that a mutual decision was made to '...paint some pictures conjointly'. Lee was to paint the landscape first and Cooper to introduce the animals - and, at Lee's insistence, to handle the financial arrangements. In the late 1840s both artists were at the height of their popularity and their exhibited collaborations in the Dutch tradition created a 'great sensation' at the Royal Academy when they first appeared. Prince Albert commented that they had '...caused a new want among patrons' and pronounced them 'the Beaumont and Fletcher...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

Jean-Baptiste Oudry (Paris 1686 - Beauvais 1755) circle of - Hunting scene with greyhounds. 21 x 27 cm without frame, 26 x 32 cm with frame. Antique oil painting on panel, in a car...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Regatta in the gulf - John Stevens Italia 2006 - Oil on canvas cm.40x80. Using thin washes of oil paint, John Stevens slowly builds up his highly detailed paintings of scenes of nava...

This charming British Victorian genre oil painting is by noted exhibited artist Henry Tuner Munns. It was painted in 1865 in realist palette with superb detail in the young boy's fac...

Charles Towne (1763-1840) A bay hunter in a landscape signed and dated 'Charles Towne Pinxit 1816' lower left Oil on canvas Painting Size - 20 x 26 Framed Size - 25 x 31 in Provena...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

This superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, ...

Italian artist, 19th century Still Life with Hunting Dogs indistinctly signed oil on canvas, unframed Canvas: 14.25 x 24 inches Provenance: private collection, UK Condition: very goo...

This large superb British Old Master horse portrait oil painting is by noted artist John Boultbee. Painted circa 1790, the composition is a beautif...

Ornamental Still Life with fruit, flowers and birds Italian School, 19th century oil painting on canvas, unframed size: 31.5 x 47 inches condition: relined canvas and in very good and presentable condition provenance: from a collection here in England. A very beautiful and decorative oil painting on a huge scale, depicting this classical landscape scene, with ornamental birds...

This captivating work belongs to Elias Martin’s later period, characterized by his exploration of historical, biblical, and mythological themes. As Mikael Ahlund, Director of the Gus...

Artist: English School, early 1800's, circle of John Constable (British 1776-1837) Title: The Woodland Path Medium: oil on canvas, framed Size: 12 x 22 inches Picture: 9 x 18 inches Provence: from a private collection in East Anglia...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Giacomo Guardi (Venice, 1764 - Venice, 1835) View of Venice with the Giudecca Canal and the Gesuati Church oil on canvas 34 x 42 cm. - framed 40 x 50 cm. Expertise dott Federica Sp...

The Italian Landscape English artist, early 19th century circle/ follower of Joseph Mallord William Turner (British 1775-1851) oil on wood panel, framed in a delightful antique walnu...

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 ...

The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

Continental, 19th Century oil on canvas, framed Monogrammed 'WM' and dated '1868' lower right framed: 34 x 48.5 inches canvas : 29.5 x 44 inches Provenance: private collection, UK Co...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attrib...

Anthoon van Dyck (Antwerp 1599 - London 1641) follower Large canvas depicting ‘The Myth of Jupiter and Antiope’ (Ovid's Meramorphoses, Book VI) Oil on canvas 116 x 150 cm. - with f...

View of Venice with the Island of San Giorgio Maggiore Follower of Canaletto (Venice, 1697 – Venice, 1768) Venice - 19th century oil on canvas 29 x 39 cm. - Framed 40 x 50 cm. Wel...