Old Masters Paintings

Fishing at Dawn English artist after an earlier work (see inscription verso) signed oil painting on canvas, framed inscribed verso framed: 23 x 31 inches canvas: 18 x 26inches proven...

This charming British Old Master exhibited landscape oil painting is by noted artist John Rathbone. It was painted in 1800 and exhibited at the Royal Academy London the same year so ...

Balthasar Van Den Bossche (Antwerp, 1681 - 1715) Alexander the Great and Campaspe in the studio of the painter Apelles The canvas was exhibited in Perugia (Museo di Palazzo della Pe...

Firmado por el artista en la parte inferior (desconozco el artista) El estado de conservación es aceptable Se presenta enmarcada la obra Medidas obra: 19 cm altura x 40 cm ancho. ...

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

This very interesting 18th/19th century Dutch oil painting is attributed to circle or follower of Bernardo Bellotto who was renowned for painting elaborate representations of archite...

Nicola Maria Rossi masterfully captures the biblical tale of Rebecca and Eliezer at the Well, a story from the Book of Genesis. In this scene, Abraham’s servant, Eliezer, arrives at ...

Giovanni Giacomo Sementi (Bologna, Italy, 1580 - Rome, Italy, 1636) - Pier Francesco Cittadini (Milan, Italy, 1616 - Bologna, Italy, 1681) Danae Oil on canvas, without frame 119 x 179 cm, with frame 140 x 200 x 12 cm, weight 35 kg Expertise by Professor Giancarlo Sestieri Publications: Carne - la materia dello spirito, exhibition catalogue curated by Father Alessio Geretti, project of the scientific catalogue curated by Father Alessio Geretti, Nicole Pravisani and Giulia Toffoletti, (21 May - 22 October 2023), Illegio, Casa delle Esposizioni, pp. 56-59; Body, Love and Feelings - Works of Ancient Masters from the 16th to the 19th century. In the paintings of Giorgio Baratti private collection, Milan, exhibition catalogue curated by Alessandro Marchi, (27 July - 18 September 2011), San Marino - Historical Centre, pp. 38-39; Giorgio Baratti Collezione. Selezione di opere d’arte antica (Giorgio Baratti Collection. Selection of ancient works of art), curated by Professor Giancarlo Sestieri and with the participation of Professor Andrea Emiliani, Grafiche Veneziane, Venezia 2011, pp. 22-23. It is a gentle and graceful Danae the one portrayed by Giovanni Giacomo Sementi. A painting in which the Milanese painter Pier Francesco Cittadini also collaborated by painting the golden basin filled with flowers to the left of the scene. The work shows various pictorial influences; from the Bolognese Emilian style, to that of Ludovico Carracci (1555 - 1619) and Guido Reni (1575 - 1642), to the Baroque and Roman style. The work features an elegant red drapery which serves as the background to the entire scene, but the real protagonist is the young woman with long red hair who is lying on a bed covered by a white sheet. The girl is naked except for a lapis lazuli blue mantle...

This superb Dutch Old Master marine oil painting is attributed to the circle of Jacob de Heusch. Painted circa 1690 the setting is an Italian coast with fish...

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...

Venice - Mario De Angeli - Italia 2006 - Oil on canvas cm. 70x90. Mario De Angeli's canvas is an extraordinary work of Italian landscape painting. They are inspired by the landscap...

"The Fortune Teller" is an original oil painting on canvas by Abraham Willemsens, Maitre aux Beguins (Master of the Hats). It depicts a fortune tell...

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...

Ornate Classical Fruit Still Life Italian School, 17th century oil on canvas, unframed canvas: 22 x 27 inches provenance: private collection, UK condition: very good and sound condi...

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...

Diana The Huntress and her Cherubs Northern European artist, circa 1680's period oil on canvas, unframed canvas: 20 x 60.5 inches provenance: private collection, UK condition: some p...

View on the Cannaregio Canal, Venice Italian School, 19th century, after Francesco Guardi, Italian 1712-1793 oil on panel Painting: 8 x 10 inches condition: overall very sound, with ...

Charles Martin Powell (Chichester 1775-1824) Dutch shipping in a choppy sea Signed 'CPowell' lower right Oil on canvas Canvas Size - 16 x 19 in Framed Size - 23 x 25 in Provenance: The Parker Gallery...

VENICE - Italian landscape oil on canvas oval painting cm.30x60 by Giancarlo Gorini, Italy 2002. Gold gilded wooden frame available o...

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

This lovely painting is a British Old Master late 18th century or early 19th-century oil painting by Thomas Barker of Bath. It is stylistically very similar to his other works of the...

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. ...

Monastic Ruins by a Stream French School, early 1800's oil on canvas, framed Framed 15 x 19 inches Canvas : 12.5 x 16 inches Provenance: private collection, France Condition: very go...

Pietro Della Vecchia (Venice, Italy, 1603 - Vicenza, Italy, 1678) Title: The Alchemists Medium: Oil on canvas Dimensions: without frame 73 x 97 cm – with frame 90.4 x 114.3 x 6 cm ...

Follower of Dirck van Berghen (Dutch School, 17th Century) Pastoral Landscape with a Shepherdess and Livestock Oil on canvas, framed in a French Empire period gilt frame canvas dimen...

Early 20th Century Oil Painting Grand Canal at Dusk, Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondolas along Venice's iconic Grand Canal at Dusk by Richar...

Flemish or South German, c. 1700-1720 Hunting trophy with a deer and game, adorned with the accoutrements of the chase Oil on canvas In a period style moulded pine and ebony veneer...

Bibliography: A.Busiri Vici, Jan Frans Van Bloemen Orizzonte e l’origine del paesaggio romano settecentesco, Ugo Bozzi Editore, Roma 1974, n.41 This artwork is shipped from Italy. U...

Francis Sartorius British, (1734-1804) Bay Hunter & Groom Oil on canvas, signed Image size: 24.25 inches x 29.25 inches Size including frame: 32 inches x 37 inches A wonderful spor...

Giovanni Battista Spinelli (Chieti, Italy, 1613 - Ortona, Italy, 1647) Title: Jacob's dream Medium: Oil on canvas Dimensions: without frame 98 x 135 cm - with frame 108 x 145 cm Expertise by Professor Nicola Spinosa Publications: From Sacro to Profano. The Giorgio...

Guido Reni (Bologna, Italy, 1575 – 1642) Title: Masculine Head Medium: Oil on canvas Dimensions: without frame 44.7 × 51.2 cm – with frame 62.8 x 68.3 x 5.5 cm Expertise by Claudio...

Classical Landscape Continental School, late 20th century signed oil on canvas, framed framed: 34 x 43 inches canvas: 27 x 34 inches provenance: fr...

This superb Dutch Old Master oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 during the Dutch Golden Age the composition depicts a number of figures and ani...

Manner of Emilio Greco, 20th Century oil on board, framed framed: 24 x 29 inches board: 16 x 20 inches provenance: private collection, England The painting is in very good and presen...

Antonio Balestra (Verona, Italy, 1666 - 1740) Title: Solomon Sacrificing to the Idols Medium: Oil on canvas Dimensions: without frame 73 x 98 cm Painting without frame. Born in Ver...

Thomas Smith of Derby (1720-1767) View of Matlock High Tor, Derbyshire Oil on canvas Canvas Size 25 x 30 in Framed Size 32 x 37 in Provenance Private Collection, London Thomas Smit...

Vedutist painter of the 19th century View of Venice with St. Mark's Square towards the basilica oil on canvas 23 x 32 cm - with period frame 43 x 53 The proposed view captures the ...

Venice - Mario De Angeli - Italia 2009 - Oil on canvas cm. 80x120. Gold leaf gilded wooden frame ext. mis. cm.100x140 Mario De Angeli's canvas is an extraordinary work of Italian l...

This stunning British Old Master exhibited pastoral oil on panel is by noted artist James Ward. Painted circa 1815 with superb provenance, it was e...

Work on canvas

Grand Tour Study Italian School, 18th century monogrammed, lower right hand corner, Watercolour wash painting on board, glazed frame Framed size: 9 x 11 inches The painting captures...

Florentine painter, 17th-18th century Equestrian portrait of Pietro Strozzi (Florence, 1511 - Thionville, 1558) Oil on canvas 79 x 115 cm. - Framed cm. 92 x 127 A valiant knight, p...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to present a fascinating work, dating back to the beginning of the 17th century, inspired by the prototype of the Annunciation created around 1586-1595 by Pieter de Witte, also known as Peter Candid (Bruges, 1540/1548 - Munich, 1628), which has been lost but made famous thanks to an engraving made and published by Jan Sadeler I (1550-1600). A painter of Flemish origin with strong affinities to 16th century Italianising culture, De Witte tackles the theme of the Annunciation numerous times, revealing knowledge of both Roman and Florentine Mannerism, inherited from his Italian sojourn. Some of these works are now housed in various international museums, in addition to autograph or workshop works that can be found in numerous public or private collections; in this regard, we may mention the following: - National Museum in Prague [1] - Carrara Academy of Bergamo, Angelo Annunziante and Vergine Annunziata [2]. - Finnish National Museum, Helsinki  - Private property, religious institution Bergamo (Bergamo area) Observing the composition, we can admire the rather well-established iconographic scheme, with the two figures immersed in an almost dreamlike atmosphere: the Archangel Gabriel on the left, of an ethereal beauty, appears imperious as he delivers the supreme annunciation to the Virgin Mary, who greets him with lowered eyes, composed in her amazement; surprised in the act of reading a book, she receives the white lilies...

A charming image of cherubs cavorting with sheaths of wheat in a woodland setting. Follower of Jean-Honoré Fragonard Cherubs cavorting before a tree Oil on panel 10¾ x 14 inches exc...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Style of Francesco Guardi (1712-1793) Venetian Canal Scenes -San Giorgio Maggiore from the Bacino di San Marco 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...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Private readings - Angelo Granati Italia 2013 This is his reinterpretation of a greatest old master painting "Comparisions"by Sir Lawrence Alma-Tadema. ...

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) circle Floral still life Signed lower left, on the stone: P Casteels About 1730 Oil painting on...

A fine Dutch still life Old Master by Leendert de Laeff which is signed and dated 1664. This oil on canvas on panel depicts a still life of fruit with insects and butterflies. A supe...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...

Naples - Ettore Ferrante - Italia 2006 - Oil on canvas cm.30x80. Frame available on request from our workshop. Ettore Ferrante is a refined and excellent view painter of the past. ...

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: Christ Healing a Paralytic Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - with frame 70 x 92 cm Expertise...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground approaching ruins on their left. Beyond is a river snakes through the landscape, beneath the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...

Mid Century Dutch Windmill Original Oil in Dutch Impressionist Style Colorful French impressionist style oil painting by F. Simont (Dutch 19th/20t...

Antique, decorative oil painting, 18th century. Christian scene. Canvas relined. With a beautiful wooden frame. Dimensions without frame.