Old Masters Paintings

Already been in Koelliker collection (no. inv. LK0431) Publications: - C. Alpini, Ritratto di Gian Giacomo Barbelli nel IV centenario della nascita, in “Insula Fulcheria”, XXXIV, ...

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:...

Gabriele Bella (Venice 1730 – Venice 1799) attributed View of Venice with the Guglie bridge (or the Cannaregio bridge, as it was formerly called) circa 1750/60 oil on canvas, ...

16th Century Neapolitan Maestro Title: Vision of Saint John in Patmos Medium: Oil on panel Dimensions: without frame 113 x 85 cm Painting without frame Expertise by Prof. Antonio Va...

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

La obra no va firmada El estado de conservación de la pintura es aceptable, solo comentar que la tela está reentelada Se presenta enmarcada la obra con un antiguo marco en madera p...

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...

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...

Ilario Mercanti, known as ‘lo Spolverini’ (Parma, 1657 - 1734) Scene of a night-time naval battle oil on copper (oval) 59 x 74 cm - with frame 83...

A fine antique oil painting, on canvas, of horses pulling a tandem at speed. signed and titled lower left, Vine Colchester 1834 This fine painting shows two horses pulling an open carriage /gig with gentleman in extensive landscape/park The size of the painting is approx 50 x 80 cms, whilst overall the size framed is 100cm x 71 cm This is a fine painting in very good condition housed in a gilt frame ready to hang Provenance: The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire see details below The artist John Vine was born with a disability that did not appear to interfere with his ability to draw and paint, largely self-taught as an animal painter, as his reputation grew he exhibited at the Society of British Artists in Grosvenor Square. Based at Colchester he painted many different subjects including farms, houses, children and animals. Eric W. Towler was a remarkable man. He was born in 1900 and left school at the age of 12 to work in a Yorkshire pit and through a lifetime of hard work, self-improvement, luck and a refusal to limit his horizons achieved many of his aspirations. As a Yorkshireman through and through, he believed in ‘spending the brass in his pocket’ and over time he was successful enough to acquire enough ‘brass’ to enable his purchase of Glympton Park and furnish it as a traditional country house with all the trappings – in his case collections of...

« A Mediterranean capriccio » Oil on canvas by Abraham STORCK With an appraisal by René Millet ( Well Known French Expert in Paris) Within a tortoise-shell Turtle This oil on canvas...

Gaspard Dughet, called Gaspard Poussin (Rome 1615 - 1675) - attributable to Wooded landscape of the Roman countryside with the Archangel Raphael and Tobiolo oil painting on canvas second half of the 17th century (cm.) 75 x 98, with frame 91 x 115 On the back old label inscribed "Monte dei Paschi di Siena" The painting has characters clearly linked to the Roman culture of the seventeenth century and, in particular, to the works of Gaspard Dughet, an author who was able to achieve surprising results in describing the Lazio countryside with a unique grace and sensitivity. Brother-in-law of Nicolas Poussin, of whom he was a pupil, Dughet is to be considered among the most important landscape painters of the Roman Baroque, highly sought after and celebrated by the aristocracy, a reference model for the artists of the following generation, such as Crescenzo Onofri, Jan Frans van Bloemen and Andrea Locatelli...

1910s Italian Signed Landscape Beautiful oil painting on cardboard by the great Bolognese artist Ugo Gheduzzi (Crespellano BO 5 March 1853 - Turin 1925). The light of rare intensity...

View of Capri - Francesco D'Angiolo Italia 2004 - Oil on canvas cm. 60x80 Gold leaf gilded wooden frame available on request.

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

Giuseppe Bonito (Castellammare di Stabia, Italy, 1707 - Naples, Italy, 1789) Title: The Painter's Studio or Allegory of Painting Medium: Oil on canvas ...

Giovanni Stefano Danedi, called Montalto (Treviglio, Italy, 1612 - Milan, Italy, 1690) Title: Madonna and Child crowned by angels Medium: Oil on panel Dimensions: without frame 58 x ...

Giovani Ghisolfi (Milan 1623-1683), attributed / workshop View of classical architectural ruins with Pythagoras pretending to return from Hades Oil on canvas, cm. 70 x 84 In frame c...

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...

Giacomo Nani (Porto Ercole 1698 - Naples 1770) Still life with flowers, riser with crystals and liqueurs, icebox, china and basket with biscuits (LINK) Oil on canvas cm. 64 x 73 - Framed cm. 83 x 93 Provenance (see images): - Dorotheum (April 14, 2005) Vienna, Lot 37 Est: €20,000 EUR - €30,000 EUR - Dorotheum (October 15, 2008), Lot 281 East: €18,000 EUR - €25,000 EUR The proposed painting is a work by the Neapolitan painter Giacomo Nani (Porto Ercole 1698 - Naples 1770) and delights us with a selection of his favourite elements in the creation of his precious still lifes; On a stone shelf, on which an embroidered carpet is laid, we see a series of objects, including two painted porcelain cups, a riser with two liqueur bottles and crystal goblets; then there is a transparent glass vase filled with flowers, and finally some foodstuffs, a basket with biscuits, a wrapped Neapolitan aubergine and an icebox with an oyster. Everything is arranged to create a refined and elegant ensemble. A pupil of Gaspare Lopez (Naples - Venice ca. 1732), one of the leading generalists of the time, Giacomo Nani developed an autonomous personality over time, much appreciated by 18th century nobles and collectors, including the Duchess of Terranova and the Duke of Limatola, as well as the Bourbons. Numerous in particular were his paintings owned by King Charles of Bourbon, which are now preserved in Naples and Caserta at the picture gallery of the Royal Estate of Carditello. Twenty-four canvases by Giacomo Nani were sent to Spain by Charles of Bourbon as gifts for his mother, Elisabeth Farnese, and are today kept at the Royal Palace of Riofrío, one of the residences of the Spanish royal family, and at the Royal Palace of the Granja de San Ildefonso, in Segovia. A painter of still lifes, his works were often devoted to a wide variety of foodstuffs. In his compositions, foodstuffs of the period appear and, in particular, in the series conserved in Spain, most of the dishes that were served on the tables of the Neapolitans in those years are depicted as in a select menu. He sometimes depicted objects typical of Neapolitan tradition, as in the present painting, the typical rosolio wine, Capodimonte ceramics...

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

A Tavern Interior - 18th Century Old Master, Figurative Oil Painting by Schaak Little is known about the artist J.S.C. Schaak. He was active in England as a portraitist between 1760-1770. His name indicates his German or Dutch origin. Especially portraits of generals...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a guinea pig and a dove in an interior. The two rabbits, one brown one grey are in the immediate foreground, head to head eating something and the dove is standing to their right. The brown and white guinea pig is sitting above and behind them. As the background is dark the animals really stand out and there is superb detail in their respective fur and feathers. This is a charming Italian Old Master animal oil painting and an excellent example of Cassana's work. Provenance. Scottish estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a ebonised frame, 32 inches by 28 inches, in good condition. Giovanni Agostino Cassana (c.1658 – 6 May 1720) was an Italian painter of the Baroque period. He was a son of Giovanni Francesco Cassana and an elder brother of Niccolò and Giovanni Battista. He was born at Venice, and was initially instructed by his father. In 1670 he worked at the court of Ferdinando de' Medici in Florence and travelled regularly between the two cities, but spent at least the years 1718–1720 in Genoa, where he later died. He painted portraits with some success, but preferred painting animals in the style of Antonio Maria Vasallo, Benedetto Castiglione, and Joannes Fyt, a style which he learned from Jacques van de Kerckhove...

This charming German miniature painting, created of oil on copper, depicts a young woman wearing a large and lavish hat. With dark, braided hair and blue eyes, the sitter's cheerful ...

This superb 18th century Old Master floral still life oil painting is attributed to Flemish artist Pieter Casteels III. Painted circa 1730 it is a garland or swag of flowers, somethi...

Ben Marshall (1768-1835) A poodle chasing a butterfly Oil on canvas Canvas size 10 x 12 in Framed size 15 x 17 in Provenance The Collection of the late David Fuller, former Director...

Esta obra es un icono religioso de estilo bizantino, característico por su fondo dorado y la representación solemne de figuras sagradas. La escena central muestra a la Virgen María, ...

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...

Jean-Baptiste Perroneau (Paris, 1715 – Amsterdam, 1783) Portrait of a lady Oil on oval canvas 60 x 50 cm. - In frame 77 x 66 cm. Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l’Europe des Lumières Excerpt from the expertise of Dr. Colace: This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a very talented French painter, whose most beautiful works are located, just like this one, between the fifth and sixth decades of the eighteenth century. "Perroneaeu is more naturally colored than La Tour, the est, in the peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": this is how his brothers wrote about him in La Maison d...

Ferrara school of the late sixteenth century - circle of Giuseppe Mazzuoli known as Bastarolo (Ferrara 1536 - 1589) St. Jerome penitent in the cave ...

This lovely 18th century Old Master portrait oil painting is by noted British artist Francis Cotes. It was painted circa 1760 when Cotes was preferring oil as a medium and comparison...

Jan Van der Straet, known as Giovanni Stradano (Bruges 1523 - Florence 1605), Workshop of The Adoration of the Magi late 16th century - early 17th century oil painting on canvas Mea...

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

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

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...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

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....

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

Fine 19th Century Oil on Canvas Portrait of a Young Woman in large gilt gesso frame .unsigned. Identity of the sitter as yet unknown. The artist has managed to capture her ethereal b...

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Fra...

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...

Mary Magdalene in the Desert Giovanni Francesco Barbieri, Il Guercino (Cento, 1591 - Bologna, 1666) Workshop of Oil on canvas 122 x 78 cm In frame 136 x 92 cm The painting presents us with a superb image of the penitent Magdalene, portrayed as an attractive young woman, mischievously undressed to remind us of her sinful past, her gaze full of devotion turned towards the angel messenger arriving from above. The composition is made even more fascinating by her long, loose hair that falls softly over her body, revealing her breasts, a further reference to the strong femininity of this saint, who is both a sinner and a penitent, and therefore perpetually portrayed in the ambivalence between the sacred and the profane. Stylistically, the work, which can be dated to the first half of the 17th century, clearly belongs to the Emilian school, and the Guercinesque characteristics undoubtedly suggest that it was executed by an artist from his workshop. The iconography of the painting reinterprets a work by Guercino, “The Vision of Saint Jerome”, painted in 1641 for the Confraternity of Saint Jerome in Rimini: the two works are similar in their setting, the composition of the scene, the treatment of the bodies of the protagonists and even in the pose and colours and the inclusion of the angel in the upper part of the painting. Returning to our beautiful Magdalene, although Guercino's original work cannot be traced, there are other versions by his talented pupils and workshop, including that by Cesare Gennari (Cento, 1637 - Bologna, 1688), now in the Pinacoteca Civica in Cento (FE), considered one of the best talents to emerge from the prestigious teaching of the master. Gennari Cesare - Penitent Magdalene oil on canvas, 276x 171 cm, 1662, no. 0342 Civica Pinacoteca Il Guercino, Cento (FE). Although it is difficult to attribute our high-quality canvas to a specific artist, we can trace its authorship to the workshop of the great master, hypothesising that it was painted either by Cesare Gennari himself or by an artist close to his style, such as Giuseppe Maria Ficatelli, from whom the particular sense of light and vigorous naturalism derives. Our painter follows the robust and synthetic naturalism typical of Cesare's style: the touch is refined but full of character in the depiction of Mary Magdalene, with her sensual flesh, particularly her breasts, which are barely concealed by her long, curly, golden hair. The woman embodies a three-dimensional strength that makes her the focal point of the painting, around which everything else is coordinated, thanks in part to her diagonal pose, which emphasises her depth. She kneels on a rock altar, on which there is a crucifix and an open book, as well as a skull at her feet, as a warning against Vanitas. In this dark setting, with colours that are deep and functional to the message of faith that Mary Magdalene conveys, the only source of light illuminating the scene is the angel at the top of the painting, pointing to the true source of that glow, which stands out against the magnificent lapis lazuli blue of the sky. ADDITIONAL INFORMATION: Good condition, with some restoration work consistent with the age of the painting, complete with gilded frame...

This splendid panel, made in the last decades of the sixteenth century, depicts San Girolamo, a monk who lived between the 4th and 5th centuries, presente...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

Cherubim playing - Giulio Di Sotto Italia 2004 - Oil on canvas cm. 50 x 100 Gold dilded wooden frame available on request. The proposed painting represents two putti playing .. Cle...

Work on cardboard Plaster and gilded wood frame 46 x 55.5 x 5 cm

"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...

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...

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...

Johann Carl Loth (Munich, Germany, 1632 - Venice, Italy, 1698) Title: Saint Mark Medium: Oil on canvas Dimensions: without frame 65 × 72 cm - with frame 82.5 x 88 cm Expertise by Professor Dario Succi Publications: Lo studiolo...

Domenico Maria Canuti (Bologna, Italy, 1626 – 1684) Title: Assumption of the Virgin Medium: Oil on canvas Dimensions: 138 x 104.5 cm without frame Expertise by Professor Micaela Li...

Meiffren Conte or Comte (Marseille, France, 1630 – 1705) Title: A pair of paintings, still lifes with magnificent jugs and shell Year: 1690 ca. Medium: Oil on canvas Dimensions: wit...

Excellent figurative painting of a mother and child by H. Willard Ortlip (American, 20th Century), 1927. Signature and date lower left "H. Willard Ortlip 1927." Presented in a giltwo...

17th century European oil, Christ and is disciples seated around a table. An interesting and very unique painting. Possibly a fragment originally from a piece of furniture. The s...

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...

Complete set of Stations of the Cross oil paintings by Völkel German, 1909 Canvas: Height 80cm, width 82cm Frame: Height 134cm, width 111c...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Seventeenth Century Old Master Biblical themed Oil Painting on Panel of Joseph recounting his Dream. A Follower of Rembrandt Harmensz Van Rijn 1606 - 1669. This painting follows a ...

Lombard painter active in the 17th century Infant Jesus Oil painting on canvas 70 x 82 cm. - In antique frame 78 x 91 cm. This painting depicts an unusual and pleasant iconographic...

STILL LIFE - Oil on canvas cm.60x80 by Salvatore Marinelli, Italy 2002 Frame available on request from our workshop.