Old Masters Paintings

Escuela Española siglo XVIII. "San Simón". Titulado a mano en la parte superior. Óleo sobre tela. Medidas: 82 cm. x 68 cm.; 86cm. x 72 xm. (marco). Se trata de un óleo sobre tela rep...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

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...

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

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

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

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...

Hendrick van Balen (Antwerp 1575 - 1632) workshop Possible Jan van Balen (Antwerp 1611 - 1654) Madonna and Child with Three Angels Oil on panel 65 x 50 cm....

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Family Devotion with Cherubs French School, 18th century after the earlier work by Sir Peter Paul Rubens oil on canvas, unframed Canvas : 29 x 24 inches Provenance: private collectio...

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...

A fine painting of sheep in a landscape setting follower of the talented Belgium painter of animals Eugene Verboeckhoven. (unsigned)Housed in a 19th century gilt frame. The size overall being 55 cm x 48 cm whilst the painting is 38 x 29 cm. The sheep have been beautifully captured especially their faces. An oil on board study ready to hang Eugene Joseph Verboeckhoven...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

This superb Old Master later 17th/early 18th century oil painting is attributed to Baroque painter and German born animal artist Philipp Peter Roos. He was active in and near Rome fr...

A fine 19th century oil painting on canvas depicting a Mail coach outside the Swan Inn, in the snow, signed, inscribed and dated 'Bath 1878' lower left, The size being 36cm x 66cm,...

Venetian school of the end of the 16th century Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544 - 1628) Saint Jerome Penitent Oil painting on canvas 85 x 64 cm. - In frame 97 x 76 cm. This splendid painting, which offers us an intense representation of San Girolamo...

Charming 19th century landscape oil painting of a Farmyard scene by john Frederick Herring depicting a number of different animals including horses, chickens, goats, ducks and cows along with a farmer and his homestead. Oil on canvas, in heavy gilt frame behind glass with oval mount. Size of canvas, Height: 51cm Width: 61cm. Framed overall size Height: 81cm Width: 90cm approximately. signed This painting is in overall good condition. There is some age related craquelure throughout as to be expected (close up pics available on request) The original frame/slip shows some signs of age as to be expected including age related cracks and some minor losses which have been colour matched and regilded. This in no way detracting from this fine painting This painting is heavy and may need crating if shipping,this would need to be custom made and may cause delay in shipping John Frederick HERRING (1815-1907) John Frederick Herring Junior (1815 - 1907) was an English painter who is best known for his equine art. John F. Herring Jr...

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...

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...

Antonio Tibaldi (Rome, c. 1633 - c. 1684) Still Life with Precious Objects, Brocade Fabrics and a Plate of Sweets c. 1650/1660 Oil on canvas, 96 x 130 cm In frame 115 x 150 c...

Cherubim with flowers - Oil on canvas cm.80x100 by Giulio Di Sotto, Italy, 2002. Gold leaf gilded wooden frame available on request This wonderful oil on canvas represents two putti...

This 19th-century oil on panel portrait depicts a Hungarian Rabbi, characterized by his traditional attire and solemn expression. The Rabbi is portrayed with a long, white beard and ...

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...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

"The Working Landscape" Italian School, 17th century oil painting on canvas, framed canvas: 42.5cm x 60cm framed: 50.5cm x 68cm Fine quality Italian Old Master oil painting on can...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

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

Classical Still Life of Flowers English artist, 20th century signed oil on board, unframed dated 1980 board: 14.5 x 11.5 inches provenance: private collection, UK condition: overall ...

Portrait of an Aristocratic English Gentleman circle of Thomas Hudson (British (1701-1779) oil on canvas, framed framed: 53.5 x 45 inches painting: 45 x 40 inches provenance: private...

Artist/ School: French School, 18th century Title: The Roman Ruins at St. Remy de Provence, France. Inscribed verso to the frame: ‘Ruins at Roman Monument...

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. ...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

After Bartolome Esteban Murillo (Spanish, 1618-1682), "The Little Fruitseller", Oil on Canvas, 19th century, apparently unsigned, depicting young girl and boy counting money over var...

'Africa' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Landscape Finder. Goyo painted this intriguing painting in 1994, when his inspiration from the old masters was most noticeable. The artist declares: “I feel a powerful attraction to ...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

This fine late 17th-century Flemish portrait depicts a distinguished gentleman wearing a justaucorps, black cloak, white shirt, vest, leather gloves, and breeches. He’s carrying a wi...

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...

Wonderful 18th century English gouache on paper of a 18th century English scene of a groom with a horse in a landscape. One of a set of five all framed in Hogarth frames. L.Green ...

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53...

Sir Henry Raeburn (Stockbridge, Edinburgh, UK, 1756 - Edinburgh, UK, 1823) Title: Portrait of a landowner Year: Early 19th century, 1803 Medium: Oil on canvas Dimensions: Without fra...

Virgin with Child & St John, late 16th c. Florentine school Late 16th c. Florentine school Virgin with Child and St John the Baptiste Oil on white marble, h. 41,5 cm, w. 32 cm 17th L...

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...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

After Raphael Conestabile Madonna 1483 - 1520 Oil on poplar panel Image size: 8 x 8 inches (20.5 x 20.5 cm) Original ornate hand carved gilt frame Conestabile Madonna Made in compos...

Provenance: Santambrogio Antichità, Milan; sold, 2007 to: Filippo Pernisa, Milan; by whom sold, 2010, to: Private Collection, Melide, Switzerland De Primi Fine Art, Lugano, Switzerland; from whom acquired, 2011 by: Private Collection, Connecticut (2011-present) Literature: Ferdinando Arisi, “Ancora sui dipinti giovanili del Panini,” Strenna Piacentina (Piacenza, 2009): pp. 48, 57, 65, fig. 31, as by Panini Ferdinando Arisi, “Panini o Ghisolfi o Carlieri? A proposito dei dipinti giovanili,” Strenna Piacentina, (Piacenza, 2010), pp. 100, 105, 116, fig. 101, as an early work by Panini, a variant of Panini’s painting in the Museo Cristiano, Esztergom, Hungary. This architectural capriccio is one of the earliest paintings by Giovanni Paolo Panini, the preeminent painter of vedute and capricci in 18th-century Rome. The attribution to Panini has been endorsed by Ferdinando Arisi, and a recent cleaning of the painting revealed the artist’s signature in the lower right. Like many of his fellow painters working in Rome during his day, Panini was not a native of the Eternal City. He first trained as a painter and stage designer in his hometown of Piacenza and moved to Rome at the age of 20 in November 1711 to study figure painting. Panini joined the workshop of Benedetto Luti (1666-1724) and from 1712 was living on the Piazza Farnese. Panini, like many before and after him, was spellbound by Rome and its classical past. He remained in the city for the rest of his career, specializing in depicting Rome’s most important monuments, as well as creating picturesque scenes like this one that evoked the city’s ancient splendor. The 18th century art historian Lione Pascoli, who likely knew Panini personally, records in his 1730 biography of the artist that when Panini came to Rome, he was already “an excellent master and a distinguished painter of perspective, landscape, and architecture.” Panini’s earliest works from this period still show the evidence of his artistic formation in Piacenza, especially the influence of the view painter Giovanni Ghisolfi (1623-1683). However, they were also clearly shaped by his contact in Rome with the architectural capricci of Alberto Carlieri...

Charles d’Agar (1669-1723) (attrib.) Portrait of a lady in widow’s weeds, three-quarter-length, seated in an architectural setting Oil on canvas In an original carved and gilded Le...

John Thomas Serres (1759-1825) Fisherfolk unloading the days catch Oil on canvas Canvas Size - 17 x 25 in Framed Size - 22 x 30 in John Thomas Serres, a luminary in the realm of mar...

Still life with fishes and oysters is an original oil on canvas realized in the 17th Century by Neapolitan School Master. Impressive in size as well as for its vivid representation o...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

After Simon Johannes van Douw (Antwerp c. 1630 - c. 1677) The stop of a traveler on horseback near a post station Oil painting on canvas 45 x 55 cm In frame cm. 55 x 65 In this pleasant painting, depicting a knight parked near a post station, the Flemish tradition is based on a strong Italianizing sensitivity, especially by observing the setting and its peculiar brightness. The mixture of genres and the particular style of execution make it easy to trace the authorship back to a Nordic author but active in Rome, or strongly influenced by the style in vogue in the Eternal city, between the seventeenth and eighteenth centuries: we are referring, in in particular, to a follower of the Antwerp Simon Johannes van Douw. The chromatic elegance and refinement with which he outlines the figures are typical aspects of his painting. The scene takes place outside a cottage, probably a post office for travelers, where a modest family divides the tasks by assisting the knights. We see a young boy who hands water to the horse before he sets off again, the father is preparing to feed him with straw and the mother who instead takes care of the little son. The Italian reminiscences, evident in our painting, have been absorbed by many Northern European authors such as Nicolaes Berchem, Philips Wouwerman or Johannes Lingelbach, all inspired by the leader Pieter van Laer...

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...

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...

Nicolas LOIR (Paris, 1624 – 1679) Penitent Saint Mary Magdalene Oil on canvas, 58 x 71 cm Unsigned Circa 1665–1675 Trained under Simon Vouet and later Sébastien Bourdon, Nicolas ...

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...

Mythological Figures in Classical Sunset Landscape French School, 17th century oil on canvas, framed framed: 20 x 23.5 painting: 13.5 x 17 inches provenance: private collection, Engl...

Italian School, late 19th century Christ in the Garden of Gethsemane miniature painting, framed framed: 3.5 x 3 inches image: 2.5 x 2 inches provenance: private collection, Italy con...

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...

Giuseppe Antonio Petrini, (Carona, Italy, 1677 – 1757 ca.) Title: Portrait of Saint Peter Medium: Oil on canvas Dimensions: without frame 75.5 x 63 cm - with frame 96 x 83 x 5 cm Not signed Expertise by Professor Giancarlo Sestieri Provenance: Luigi Koeliker - Koetser Collection. Collection number 858 on verso. The apostle in half-length portrait, looking upwards. His shoulders are bare from his blue shirt, a brown cloak is draped over his arm. In his hand he holds the ‘keys to paradise’, which make him attributively recognisable. The bearded face shows the pleading remorse for his defamation of Christ described in the biblical account. The painting style immediately reveals Petrini's brushwork. The painter, who was born in Ticino, is one of the northern Italian-Lombard artists of the late Baroque period, who was possibly associated with Bartolomeo Guidobono (1654-1709) in Turin after 1700 and is documented with works in his home city between 1711 and 1753. Works by his hand were mainly found in the Como, Bergamo and Lugano areas. Other depictions of St Peter can be found in the church of Dubino and in a private collection in Montagnola. In 1991, an exhibition of his works was organised at the Villa Malpensata in Lugano, Switzerland. The painter was the son of a sculptor and, according to the sources, a pupil of the Genoese painter Bartolomeo Guidobono (1654-1709). However, he was also inspired by the works of Andrea Pozzo (1642-1709). Works by his hand can be found in several churches in Piedmont, such as San Maurizio in Pinerolo. At the end of the 1730s, a strong development towards the Rococo style can be recognised, as demonstrated by his ‘Allegories of the Seasons’ (Lugano Art...