Old Masters Paintings

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...

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...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing...

This tender mid-18th-century Sevillian oil painting depicts the Virgin Mary as La Divina Pastora, the Divine Shepherdess. Attired in a straw hat, decorated with flora, she rests in...

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

Unknown Russian Artist Russian Orthodox Church, Middle 19th century Unsigned Illuminated in red, yellow blue and green pigments and gold leaf on paper ...

A fine oil painting with cherubs and a cart of fruit by French artist Leger Cherelle (1816-1867). Cherelle was born in Versailles, France, a...

José de Páez (1727-1790) Colonial Mexican painting from the 18th century. Conserved in excellent condition. "La Sagrada Familia" Oil on Copper 8 x 12 in ...

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

Oil on canvas set to oval Signed and dated F. Bonvin 1876 in the center right Provenance: • France, private collection

Extremely decorative and large oil painting from the 17th century. Restored in places.   Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...

Follower of Lucas Cranach I (Kronach, 1472 - Weimar, 1553) Attributed to Franz Wolfgang Rohrich (Nuremberg 1787 - 1834) Frederick III of Saxony, called the Wise (1486-1525) Oil on ...

Still-life with a profile portrait was painted by Spanish artist Goyo Domínguez in 1994. Acrylics in a 65 cm by 54 cm wooden panel. Using a classical style with renaissance reminisc...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

James ward landscape oil Bringing in the Catch A charming scene of a family "bringing in the catch" showing figures outside a cottage, man pullng in the boat with his dog watching by...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with bridge and tower About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

Portrait of a bay horse with army officer seated on a drinking trough, signed with monogram and and dated 81', inscribed verso 'by W E Milner, Gainsborough', oil on canvas. The size overall being 44 x 57 cm (17.5 x 22.5 inches) whilst the image is 35 x 48 cm ( 19 14 inches ) In very good condition housed in a gilt frame. William Edward Millner...

Free shipping all Continental US, and all other countries, Europe, Asia etc... Enhance your space with this captivating vintage painting by Tengnagel Jan (1584-depicting The meeting...

Beautiful watercolor by Dirk Maas, a Dutch Golden Age landscape painter. Provenance: R. Edereimer Print Cabinet, New York (label overleaf). Good conditio...

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...

Niccolò Cassana (Venice, Italy, 1659 - London, UK, 1714) Title: Portrait of a Gentleman Medium: Oil on canvas Dimensions: without frame 119.5 x 92.5 cm Painting without frame. Expe...

Ercole De Maria (…. – 1640 ca.) Title: Penitent Saint Peter Medium: Oil on canvas Dimensions: without frame 66 × 50 cm – with frame 80.2 x 60.2 x 5.7 cm Not signed Expertise by And...

Provenance: Sotheby’s December 5th 2006, Lot 388 Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and archite...

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...

GREG MILLER "Real (Titian)" Acrylic, Collage on Canvas 36 x 36 in. Drawing from the diverse cultural and geographic makeup of his Californian roots, Greg Miller explores his relati...

Collections: With Martyn Gregory; Judy Egerton, 1984, acquired from the above; By descent to 2014. Exhibited: London, Martyn Gregory, Exhibition of English & Continental Watercolours, 1984, no. 94. London, Lowell Libson...

Anonymous Artist "La Anunciación" from the 18th Century. Oil on Copper 21.5 x 15.7 inches Perfect Condition It represents the moment when Mary accepts the divine designs transmitted by the archangel Saint...

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...

Northern painter active in Rome in the second half of the 17th century, View of Ponte Milvio Oil painting on canvas 73 x 97 cm in coeval Roman Salvator Rosa frame.

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

Studio of David Teniers the Younger 1610 - 1690 Peasants Playing Bowls Outside an Inn Oil on oak cradled panel, signed Image size: 16 ½ x 22 ½ inches Gilt s...

Beautiful original frame in carved and gilded wood. Oral expertise by Prof. Enrico Maria Dal Pozzolo.

Oil on Canvas 30.5 x 40.6 cm 12 x 16 in ---- Ansel deconstructs pictorial language and authorial agency in order to excavate and liberate meanings buried beneath the surface of the works from which her paintings spring. Old Master paintings were, for the most part, created by men for men. Abstraction allows her to interrupt this one sided narrative and transform it into a sensually capacious non-narrative form of visual communication that embraces multiple points of view. The title of the exhibition yes I said Yes is carved from the last line...

Pedro Nuñez de Villavicendio (Seville, Spain, 1644 - 1700) Title: Portrait of a child Medium: Oil on canvas Dimensions: without frame 41.5 x 33.5 cm - with frame 52 x 43.5 cm 19th century shaped and gilded wooden frame Expertise by Didier Bodart, art historian A Seville painter of noble origins, Pedro Nuñez de Villavicendio (1644-1700), the author of this pretty child portrait, was a Knight of the Order of St John of Jerusalem. He was a pupil of Murillo and, as a Knight of the Order of Malta, worked with Mattia Preti...

Circle of Girolamo Troppa (Torri in Sabina, Italy, 1636 - Terni, Italy, 1711) Title: The prophet Habakkuk Medium: oil on canvas Dimensions: without frame 90 x 114 cm - with frame 132...

Pair of oval paintings measuring 66 x 89 cm without frame and 90 x 115 cm with coeval frame depicting two gallant moments during a rest from hunting by painter Hendrik Van Limborch (...

Pieter Mulier known as Tempesta (Haarlem, Netherland, 1637 - Milan, Italy, 1701) Title: Landscape Medium: Oil on canvas Dimensions: without frame 49 x 65...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: The Pool of Bethesda Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - wi...

Natale Schiavoni (Chioggia, Italy, 1777 - Venice, Italy, 1858) Title: Portrait of the sister Year: 1854 Medium: Oil on cardboard Dimensions: without frame 14.5 x 12 cm - with frame 2...

This painting by Orientalist artist Rudolf Ernst depicts a Muslim man in quiet contemplation during prayer. He kneels in solitude in the vast desert as the light fades around him. Ma...

Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm)  Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...

Jean-Baptiste Monnoyer 1636-1699 French Still Life with Flowers on a Carved Stone Ledge Oil on canvas Impeccable detail and luminous color breathe life into this floral still lif...

Workshop of Bartholomaeus Spranger 16th Century Flemish Leda and the Swan Oil on panel Retelling one of the most legendary Greco-Roman mythological tales, this exceptional oil on...

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

Study of a dog Oil on paper laid down on panel, 17.5 x 25.5 cm Provenance Private collection, the Netherlands Note: We are grateful to Mr Fred Meijer for his attribution to Ludolf de Jongh Ludolf de Jongh was the son of a shoemaker. When his father moved to Rotterdam, the young Ludolf decided to learn art rather than shoemaking and became a pupil of Cornelis Saftleven. Later he studied under Anthony Palamedes in Delft and still later with Jan van Bijlert in Utrecht. In 1635 he travelled to France with Francis Bacon. Seven years later, in 1642, he returned to the Netherlands when he heard that his mother had fallen ill. He set up a shop in Rotterdam, and his earliest signed paintings date from that year. According to Houbraken, his travels had caused him to speak French so fluently, that his parents had to learn French in order to speak with him. De Jongh’s work shows a strong influence from the Utrecht school of Caravaggio admirers, especially Jacob Duck...

Two masterpieces by the Master of the Fertility of the Egg, nearly impossible to find in homogeneous pairs on the private market, both in terms of style and dimensions. They represen...