Old Masters Paintings

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

The Grape Harvest Flemish/ Dutch School, 17th century oil on wood panel panel: 13 x 16 inches provenance: private collection, Belgium condition: very good and sound condition

Hendrick Govaerts (Mechelen, Belgium, 1669 - 1720) Title: Genre Scene Medium: Oil on canvas Dimensions: without frame 48.5 x 60 cm - with frame 63 x 72 x 6 cm Oral Expertise by Lisa...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

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...

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

Arabian scene - Francoise Vigneron Italia 2004 - Oil on canvas cm.70x50. Frame available on request from our workshop. In this beautiful oil on canvas Fr...

Merry Makers in the Tavern French School, 18th century oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

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 with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

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...

Bartolomeo Guidobono (Savona, Italy, 1654 - Turin, Italy, 1709) Title: Bacchanal with Maenads, Satyrs and Nymphs Medium: Oil on canvas Dimensions: without frame 120 x 110 cm - with f...

Adriaen de Gryef (Leiden 1657 - Brussels 1722) Signed ‘A Gryeff f’(ecit) - centre left Peasant in the courtyard with still life of animals and fruit Oil on canvas Dimensions (cm): ...

Michele Desubleo (Maubeuge, 1602 - Parma, 1676) - attributable Portrait of gentleman like Solomon, the wise king Oil painting on canvas 120 x 141 cm., By gilded wooden frame cm. 134 x 162 cm. The beautiful painting shows us an image of the famous Solomon king, legendary biblical figure who became the personification of the good reigning over the centuries, and proverbially recognized as one of the wisest politicians in history. The features of the off are presumably those of the client of the work, who wanted to emphasize his image by impersonating a character with legendary fame. The reigning, with an elegant coron head of Corona of Eastern Foggia, is dressed in a sumptuous silk clothes...

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...

James Seymour (1702-1752) A Standing Leap at a Gate Mezzotint with hand colouring Image size 10 x 14 in Framed size 16 1/2 x 20 in James Seymour was an English artist renowned for h...

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...

Paolo De Matteis (Piano del Cilento, 1662 - Naples, 1728) attributed/ workshop Triumph of the Trinity with Our Lady, Saint Joseph, Saint John the Baptist, Saint Ignatius, Saint Fran...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

Beautiful original frame in carved, sculpted and gilded wood. Oral expertise by Prof. Massimo Pulini.

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

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...

Giustino Menescardi (Milan, Italy, c. 1720 - Venice, Italy, after 1779) Title: Ascent of Calvary Medium: Oil on canvas Dimensions: without frame 47 x 36 cm - with frame 57 x 43 cm Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

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...

CHILD - Oil on canvas cm.70x50, Tonino Manna, Italy 2002 Frame available on request from our workshop. in this wonderful painting we admire a girl in a white dress who takes care of ...

Pietro Bardellino (Naples, Italy, 1731 – 1806) Title: Mary Magdalene Medium: Oil on canvas Dimensions: without frame 75 x 60 cm – with frame 97 x 82 cm Antique shaped and carved wood...

A superb British Old Master oil painting which is attributed to circle of William Hogarth and was painted circa 1760. This fine oil painting is in ...

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...

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 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...

18th-century Neapolitan master Pair of paintings ‘Hagar and the Angel’ and ’The Sacrifice of Isaac’ Pair of oils on oval canvas 75 x 60 cm. - In frame 84 x 69 cm. The proposed pair...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...

Girolamo Bonini, called Anconitano (Ancona, circa 1600 - Bologna 1680) Annunciation (or Madonna of the Beautiful Angel) Oil on canvas (115 x 91 cm. - Framed 134 x 108 cm.) Work accompanied by the expertise of Prof. Emilio Negro The work, undoubtedly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, a portrait of supernatural beauty, and the Virgin; We see her here absorbed in reading a prayer book with her eyes turned humbly downwards as a sign of devotion, while a small cherub hands her white lilies, a symbol of purity and chastity.   In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering in the clouds charged with intense glow and play of light, in full Baroque style. It should also be noted that the image of the Saviour's mother in a delicately pious attitude, with her yellow veil, her broad blue mantle and her usual modest red dress from which the edges of her white blouse protrude, is to be interpreted as a kind of tender allegory of sacred love. The painting in question is an interesting replica with variants of the composition commissioned from Francesco Albani for the Fioravanti chapel in the ancient church...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

Amaizing 19' century Roman landscape depicting a part of Villa Borghese with Trinità dei Monti. With a finely carved gilt wood coeval frame. Measurements with frame cm 65 x78 wit...

Portrait of a noblewoman in ceremonial dress with Chantilly lace mantilla Attributed to Jean Ranc (Montpellier 1674 - 1735 Madrid) oil on oval canvas cm.72 ...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

PIETRO MONTANINI (Perugia, Italy, 1619 - 1689) Title: Landscape Medium: Oil on canvas Dimensions: without frame 50 x 65 cm - with frame 64 x 79 cm An...

Firmado en la parte trasera, parece poner Sevilla Urtado (desconozco el artista) y también va titulada "Castillo de Cardona) Se presenta enmarcada la pintura con un marco del siglo ...

The Annunciation Mid-17th Century French School Oil on canvas, h. 64 cm, l. 64 cm 17th century carved and giltwood frame decorated with oak leaves and acorns Framed: h. 80 cm, l. 80...

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 ...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting examined here, depicting King Philip V of Spain (Perpignan 1659 - Paris 1743), is to be placed in the circle of the painter Hyacinthe Rigaud (Perpignan 1659 - Paris 1743), one of the most significant portrait painters of his time and a great interpreter of the French school. This is a work of excellent pictorial quality: note the rendering of the facial features and the sharpness of the contours emphasised by the light. The face is characterised by chiaroscuro passages that verisimilarly reproduce light and its effects, rendered with great skill. Philip V wears a black satin costume with a sword at his side, he wears the stiff white Spanish collar and at the same time wears the blue sash of the Order of the Holy Spirit and the collar of the Habsburg Order of the Golden Fleece: this bringing together of the two main orders of France and Spain announced the possibility of a union between the two crowns. In Spanish costume, this effigy is nevertheless fully in line with the French tradition of ceremonial portraiture, also testifying to the renewal that Rigaud had brought about, particularly through the relationship between the character and the splendour of the decoration. The work is inspired, reworked in a reduced format to make it suitable for a private clientele, by the large painting that Rigaud made for the sovereign around 1700, today conserved in the Louvre, reproduced by the same workshop in numerous other versions. The account books...

Artist/ School: French School, 18th century Title: Classical figures within an interior. Medium: chalk on paper, mounted. Size: drawing: 11.5 x 13.5 inches Provenance:...

An original, very large Dutch Old Master oil on canvas which is attributed to circle of Jan Wijnants and was painted circa 1680. The huge canvas is in good clean condition and depicts a wooded landscape with travellers passing through. A delightful very large country house old master painting. Provenance. Private collection, Christies. Condition. Oil on canvas. Very large, image size is 53 inches by 41 inches and in good clean condition. Framed size is 63 by 51 inches. The carved original 17th Century wood frame...

A pair of 18th century Italian landscapes with classical ruins and figures, circa 1750. Circle of Giovanni Panini (1691-1765) Thomas Agnew and Sons, Lo...

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

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...

This superb trompe l'oeil painting is in the circle and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central cartouche,...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

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...

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

The Musical Contest between Apollo and Marsyas, by Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, ...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

Circle of Cornelius Johnson (1593-1661), a 17th century portrait of a lady, bust-length oval, wearing an ivory silk gown with blue silk bows and lace c...

This charming British early 19th century portrait oil painting is attributed to circle of Sir William Etty and is masterfully portrayed with beautiful pre Impressionist impasto. Pain...

Abraham Begeyn, Dutch Golden Age painter and Prussian court painter painted this wonderful 17th century Old Master oil painting. Painted circa 1690 and signed lower right, the subject matter is sheep and a goat under a tree in the foreground, amongst beautiful flora and fauna. Through the trees one can see some classical ruins to the left and to the right some buildings with a shepherd and his flock in front of the buildings and mountains beyond. Above is a beautiful sky tinged with pink, suggestive of dawn. There is tremendous detail in the flora and fauna and also the sheep's woolly coat. Begeyn particularly favoured painting this sort of scene with the elements of landscape, ruins or buildings and animals and was a master at it and highly prized in the Netherlands. This is an excellent example of Begeyn's work and is good condition given its age as a 17th century Old Master oil painting. Signed lower right. Provenance: Collection of Mr P. Vienna (label on the reverse) Sale, Sotheby's, London, 18 October 1995, lot 70. Condition. Oil on canvas, 24 inches by 21 inches unframed and in good condition. Frame. Housed in a gilt swept frame, 31 inches by 28 inches framed and in good condition. Abraham Begeyn (c. 1637 Leiden - 11 June 1697 Berlin), was a Dutch Golden Age painter. Begeyn was born in Leiden. Though perhaps known mostly for his Italianate landscapes and cattle in the manner of Nicolaes Pietersz Berchem, Begyn was a highly skilled painter active in many genres, who travelled widely. According to the RKD, Begeyn's earliest known work is from 1653, though he was first accepted into the Guild of St. Luke in Leiden in 1655. He stopped paying dues in 1667, because he set off for a trip to Italy. He is registered in Rome and Naples from 1659–1660. In the rampjaar or disaster year, of 1672, he is registered in Amsterdam, and after that he lived in London, where he painted at Ham House, Surrey, together with Willem van de Velde the Younger (1633–1707) and Dirck van Bergen...