Old Masters Paintings

Still life with macaw, squirrel and dwarf spaniels Attributed to Reynaud LEVIEUX (Nîmes, 1613 – Rome, 1690) 17th century French School Oil on canvas, dimensions: h. 67 cm, l. 87 cm (26.38 in. x 34.25 in) Magnificent Louis XIV period giltwood frame, early 18th century Dimensions with frame: h. 95 cm, l. 115 cm (37.40 in. x 45.27 in) Like a magic trick, the illusionist power of our painter reveals to us a baroque world where in a theatrical setting, the southern light exalts the colors and materials. In the opulence and extravagance of this exhibition, the tight framing propels forward the earthly beauties against a luxurious background of precious dyes created by the hand of man. The tray laden with fruit is placed on an entablature covered with a sumptuous Persian carpet in shimmering colors. Offering figs, bunches of grapes, apples and burst pomegranate, it transports us to the south of France. A Macaw with red feathers seem to watch over the contents and courageously confront two small toy spaniels installed on a luxurious red velvet cushion generously embroidered with gold threads and decorated with pompoms. Captivated by this tense atmosphere, we barely see another intruder: a squirrel quietly nibbling a bunch of grapes. On the left in the foreground our eye is immediately drawn to two melons, one of which is half-open and ripe. The realistic rendering of his skin with its bumpy texture awakens our sense of touch, it seems that this rough surface created thanks to generous serifs can break the canvas, like a fruit ready to burst. Scattered warm lighting creating chiaroscuro betrays the Italian influence. This is how fruits and animals emerge from the darkness with aesthetic force and a three-dimensional appearance. Our work is a variant of the lost composition of Reynaud Levieux known through replicas and its publication in the catalog of Jean Wytenhove Reynaud Levieux and classical painting in Provence (Aix-en-Provence, 1990, p. 58, repr.), our painting wonderfully illustrates the fame of this composition in its time. Related works by Reynaud Levieux: • Still life – fruit, parrot, dogs and squirrel, Villa Vauban, Luxembourg City Art Museum, oil on canvas, sizes unknown. • Parrot confronting two spaniels on a trimmings cushion, oil on canvas, 76.2 x 96 cm, Christie's Paris, 12/19/2007, lot 489 • Still life with spaniel, oil on canvas, 75 x 90 cm, Inv .: L.83.2, Musée des Beaux-Arts de Marseille Reynaud Levieux, known above all for his religious production imbued with an austere classicism inherited from Raphael and Correggio, his model painters, produced during his long career subtle still lifes intended for a clientele of amateurs and the ornamentation of private mansions. This aspect of his production is less known today, and is an essential milestone for better understanding the talent he displays in this genre. As evidenced by his paintings, the painter was greatly influenced by the Italian master of the Roman Baroque still life Franceso Noletti or Fieravino active in Rome between 1636 and 1654, the period of Reynaud Levieux's first stay in Rome. This period corresponds to a turning point in the art of Italian still life. The first Italian still lifes, around 1600, are meticulous and precise, often with symbolic meanings, linked to religion, the vanity of earthly foods, and the transience of life. A few decades later, Italian still life adopted the baroque style, which suited it wonderfully: it always sought illusion, the faithful rendering of materials, but in abundance, heaps and luxury. Having become a decorative object, it gains in virtuosity and ease what it loses in spirituality. Reynaud LEVIEUX (Nîmes, 1613 – Rome, 1690) Son of a glass painter, Protestant from Uzès, settled around 1612 in Nîmes, Reynaud Levieux was born on January 6, 1613. After initial training in his father's workshop, of whom he will always keep the taste for smooth, contrasting painting and impeccable technique, he left for Rome in 1635. He was part of a team of six painters with Pierre Mignard, Jean le Maire, Charles Errard, Jean Nocret and Nicolas Chaperon. Under the direction of Nicolas Poussin, he copied Raphaël - two painters who would have a profound impact on him. His paintings from this period are not all known and we are beginning to discover them, sometimes hidden under illustrious names, such as Theseus discovering his father's arms which was attributed to Laurent de La Hyre...

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...

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...

Charming work in the Regency style, mid 19th Century after Sir Thomas Lawrence. High quality painting. Old Christie's Stencil to verso. Would grace any home, suitable for contempor...

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

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

This mid-18th-century half-length German portrait depicts a middle-aged aristocrat wearing armour and a wig. Despite his heavily-clad appearance, it’s likely that this rather noncha...

Lombard School, 17th century Portrait of a Young Boy oil on canvas 109 x 78 cm - 127 x 97 cm with frame The protagonist of the offered canvas is a chubby little boy, aged approxima...

Portrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...

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...

This superb French Old Master oval portrait oil painting is attributed to circle of Nicolas de Largilliere. Painted circa 1700 it is a half length portrait of a gentleman in a red co...

This superb British 18th century Old Master portrait oil painting is attributed to Matthew William Peters. Painted circa 1780 it is a fine half length portrait of a woman gazing to her left. She has a lovely blue bow and sash on her dress. The sympathetic detail in her face is sublime. A really wonderful 18th century Old Master portrait. Matthew William Peters was known for his late 18th century portraits which had both the influence of Sir Joshua Reynolds and Thomas Gainsborough. Provenance. Lincolnshire estate. Condition. Oil on canvas 30 inches by 25 inches unframed and in good condition. Has has restoration. Frame. Housed in an ornate gilt carved swept period frame, 40 inches by 35 inches framed and in good condition. Matthew William Peters (1742-1814) was an English portrait and genre painter who later became an Anglican clergyman and chaplain to George IV. He became known as "William" when he started signing his works as "W. Peters". Peters was born in Freshwater, Isle of Wight, the son of Matthew Peters (born at Belfast, 1711), a civil engineer and member of the Royal Dublin Society; by Elizabeth, the eldest daughter of George Younge of Dublin. The family moved from England to Dublin when Peters was young. Peters received his artistic training from Robert West in Dublin; in 1756 and 1758 he received prizes from the first School of Design in Dublin. In 1759, he was sent by the Dublin Society to London to become a student of Thomas Hudson and won a premium from the Society of Arts. The group also paid for him to travel to Italy to study art from 1761 to 1765. On 23 September 1762 he was elected to the Accademia del Disegno in Florence. Peters returned to England in 1765 and exhibited works at the Society of Artists from 1766 to 1769. Beginning in 1769, Peters exhibited works at the Royal Academy. In 1771 he was elected an associate and in 1777 an academician. He returned to Italy in 1771 and stayed until 1775. He also probably traveled to Paris in 1783–84, where he met Léopold Boilly, Antoine Vestier, and was influenced by the work of Jean-Baptiste Greuze. On 27 February 1769, Peters became a freemason, and he was made the grand portrait painter of the Freemasons and the first provincial grand master of Lincolnshire in 1792. In 1785, he exhibited portraits of the Duke of Manchester and Lord Petre as Grand Master at the Royal Academy exhibition. According to Robin Simon's article in the Oxford Dictionary of National Biography, no British contemporary had such an Italian manner of painting as Peters, reflecting the old masters he copied. Many of Peters' works were erotic and although these works did not damage his career, according to Simon, Peters later regretted these when he became an ordained clergyman in 1781. He served as the Royal Academy's chaplain from 1784 to 1788, at which time he resigned to become chaplain to the Prince of Wales. In 1784, Peters was awarded the living of Scalford, Leicestershire by Charles Manners, 4th Duke of Rutland. In 1788, the Dowager Duchess gave him the living at Knipton, at which time he also obtained that at Woolsthorpe. These livings were near to Belvoir Castle...

Muy interesante ÓLEO SOBRE CRISTAL, representando a una Virgen con Niño, de finales del siglo XVIII principios del XIX. Escuela colonial, va con un fino marco de madera dorada al oro...

Portrait Of A Lady, Frances Bard (1646-1702) Mistress of Prince Rupert von de Pfalz, Duke of Cumberland (1619-1882) follower of Anthony Van Dyck (1...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

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

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century ...

Sin firmar, es de autor anónimo Se presenta sin enmarcar la pintura El estado de conservación de la obra se puede ver, presenta algunas faltas que precisarán restauración y el bast...

Thomas Gooch (1750-1802) 'Waggoner', a greyhound in a landscape Signed and dated 'T. Gooch 1799' lower right Oil on canvas Painting Size - 14 x 17 1/2 in ...

James Shaw (fl.1769-1784) Still life of fruit and nuts Oil on canvas Canvas Size - 13 1/2 x 17 3/4 in Framed Size - 16 1/4 x 20 1/2 in Born in Sedgley in Staffordshire, it is unclea...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

19th century oil painting Highland Pony and Retriever, Robert cleminson. A fine painting depicting a Highland Pony and Retriever, with the days bag. An oil on canvas, signed lowe...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

Circle of Pierre Gobert (Fontainebleau 1662 - Paris 1744) Pair of portraits Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Portrait of Queen Louise of Savoy (16...

This stunning Old Master 18th century portrait oil painting has previously been attributed to Sir Peter Paul Rubens. Indeed the sitter, Helena Fourment or Hélène Fourment (11 April 1614 – 15 July 1673) was the second wife of Baroque painter Rubens...

Christ and St John the Baptist embracing Studio of Joos van Cleve (1485 – 1541), Antwerp First half of 16th century Oil on oak panel, h. 55 cm, w. 43 cm A 17th century ebonized wood frame Framed: h. 100 cm, w. 83 cm Provenance: • Advertisement in Burlington Magazine, 1929, at the antique dealer Paul Larsen, 34 Duke's Street, London, United Kingdom • Clowes Sale, Christie's London, 7 July 1950, lot 153 (as Joos Van Cleve) • Acquired from the Katz antique dealers in Dieren (Netherlands) in the 1950s (one of the most important art galleries in the Netherlands specialising in Old Masters) • By descent, private European collection The composition of our painting depicting two naked babies embracing, Jesus and Saint John the Baptist, draws its source from a drawing by Leonardo da Vinci, probably executed in Milan around 1490 (kept at Windsor Castle, United Kingdom). This scheme, widespread early in the Lombard school, was widely reproduced by Leonardo's Milanese followers (Marco d'Oggiono, Bernardino de Conti or Bernardino Luini.) It is very likely that Joos Van Cleve was inspired by one of the works of his artists during his stay in Italy, however some historians hypothesize that he borrowed the figures from the painting by Marco d'Oggiono who had copied it on site in Flanders (it would have belonged to Margaret of...

Antwerp school Attributed to Gerard Thomas (Antwerp 1663-1720) The doctor's office Gerard Thomas is a Flemish painter of the late Baroque period. Apprentice in 1688, twice dean of...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra (el marco presenta algunos signos de uso) El estado de la obra es aceptable, solo com...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

Work on cardboard Golden wooden frame 54 x 45 x 4.5 cm

Se presenta enmarcada la pintura con un marco del siglo xviii El estado de la obra se puede ver, tiene faltas de capa pictórica y también comentar que la tela está reentelada Medid...

Abraham van CUYLENBROCH (1620-1658) Diana With Her Attendants in a Grotto 1651 signed oil on panel 12.2 in x 15.7 inches, inc. frame; 31 x 40 cm Provenance: Sale of Sotheby's Lo...

A luxury Still life with lobster, ham and fruits Studio of Jan Davidsz de Heem (Utrecht, 1606 - Anvers, 1683-84) 17th century Antwerp school Bears a signature J D D Heem lower left on the table Oil on canvas, dim. h. 78 cm, l. 109 cm (h. 30.70 in, w. 42.91 inch) An 18th century giltwood frame, framed: h. 97 cm, l. 130 cm (38.19 in. x 51.18 in) This is a studio version after the slightly larger original by Jan Davidsz. de Heem (1606-1683) c. 1645 in the Royal Collection at the Royal Palace, Stockholm. Provenance: Galerie Charpentier auction, May 1st 1965 Sumptuous still life in which precious silver, glass and delicious food are displayed on a truly grand scale. The painter invites a viewer to the feast of red cooked lobster, mouth-watering ham, ripe peaches and plums, and sumptuous bunches of grapes. All of this extravagant food is richly displayed on a wooden table elegantly covered with a dark green velvet tablecloth. Our eye is directly attracted to the big red boiled lobster in the middle on a larger silver dish, with a silver plate of crabs in front. Behind the lobster is a large wicker basket with a white napkin, draped over its front edge and supporting a large silver dish...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

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...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

This superb German Old Master still life oil painting is attributed to circle of Johann Amandus Winck and also shows the influences of the Dutch Old Masters. Painted circa 1780 the p...

George Knapton (London 1698 - 1778), attributable Portrait of a young aristocratic maiden sitting by a fountain in a garden in the company of a lamb Oil on canvas (127 x 102 cm - Fr...

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...

Venice - Giancarlo Gorini Italia 2002 - Oil on canvas cm.50x100 Gold leaf gilded wooden frameavailable on request Giancarlo Gorini's canvas is an extraordinary work of Italian lan...

A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example o...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a free interpretation of the paint...

Madonna and Child with Saint John the Baptist and angels Circle of Joos Van Cleve (1485 – 1541) 16th century Antwerp school Oil on oak panel Dimensions: h. 32 cm (13 in.), w. 28.5 cm...

Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period ...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

17th century Flemish school The Mismatched Couple Oil on canvas 75 x 96 cm. Framed 96 x 118 cm. The curious subject we see depicted in the canvas proposed here belongs to the trad...

Portrait of a Gentleman in Ruff Collar and Robes Dutch School, 18th century oil on canvas laid over panel, unframed board: 28.5 x 24 inches provenance: private collection condition: ...

Matteo Bonechi (Florence, Italy, 1669 - 1756) Title: Triumph Medium: Oil on canvas Dimensions: without frame 65 x 80 cm - with frame 85 x 100 cm Expertise by Professor Sandro Belles...

Attributted to Barthel Bruyn the Elder 1493–1555 Portrait of a Archduchess Margaret of Austria Oil on wood panel Image size: 10 inches (25.5 cm) Faux tortoiseshell frame Provenance North England Estate The Artist The date of Bartholomaeus (or Barthel) Bruyn's birth, 1493, can be deduced from a portrait medal by Friedrich Hagenauer which is dated 1539 and gives the artist's age as 46. The exact place of his birth is unknown, but was almost certainly in the region of the Lower Rhine. Bruyn entered the workshop of Jan Joest and assisted in painting the high altar of the Nikolaikirche, Kalkar, executed between 1505 and 1508. Also in Joest's atelier at this time was Joos van Cleve...

Jacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...

No Dutch draughtsman ever captured the atmosphere of the rural countryside of Holland with the same atmospheric and engaging simplicity that Van Goyen achieved in drawings such as this. Indeed, his landscapes were seminal in the development of the genre. The present sketch conveys a striking sense of movement within the natural landscape, conveyed by the deftly applied strokes of chalk, from which the artist’s hand can be sensed. The composition is characteristic of his work, with the low horizon affording significance to the broad sky and the soaring birds within. This feeling of windswept motion powerfully evokes the expansive Dutch farmland with which he was evidently preoccupied. 1. Jan van Goyen...

This lovely 17th century Old Master floral oil painting is attributed to the circle of noted Franco Flemish artist Jean-Baptiste Monnoyer. Painted circa 1670 it is a still life of a ...

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 ...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

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...

Gaspare Diziani (Belluno, Italy, 1689 – Venice, Italy, 1767) Title: Cupids at play Medium: Oil on canvas Dimensions: without frame 85 x 175 cm – with frame Publications: La Pittura...