Old Masters Paintings

Marine - Enrico Capuano Italia 2009 - Oil on board cm. 20x33

Dutch school, follower of Herman van SWANEVELT (1603-1655), Shepherds and their flock on a path, oil on canvas, circa 1700 – good condition Wooden frame Canvas without frame : Height...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...

Unknown Artist (Dutch School, late 18th century) Pastoral Scene with Goatherds, ca. 1780–1800 Oil on canvas In this lively pastoral composition, a group of figures reclines in rusti...

William Jones (c.1798-1860) Two spaniels working with a huntsman beyond Oil on canvas Canvas Size - 16 x 21 in Framed Size - 21 x 26 in William Jones’s wor...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

This fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

'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...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

Martin van Meytens (Stockholm 1695 - Vienna 1770) Portrait of Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) Portrait of Emperor Francis I of Lorraine (1708 - 1765) oil on ...

Madonna and Christ Child French Old Master, 17th century circle of Simon Vouet (French 1590-164 oil on copper, unframed Copper : 9 x 7 inches Provenance: private collection, Lyon, Fr...

This superb Dutch Golden Age Old Master landscape oil painting is attributed to Jacob van der Croos. Painted circa 1670 it is an Italianate landscape with figures and their animals i...

English 19th century portrait of a White / Grey hunter in a stable. Charles Towne was born in Wigan in 1763. He was trained as a coach painter, and by ...

The Finding of Baby Moses Fontainebleau School, circa 1580's period oil painting on thick wood (walnut wood) panel, framed framed: 32.5 x 27 inches wood: 25 x 30 inches provenance: p...

In this painting titled "Old Woman and Boy with Candles" an intriguing scene unfolds before our eyes. An older woman gazes ahead, her eyes shielded from the flickering candlelight, w...

In this exquisite work, painted around the time of the Great Fire of London in 1666, a beautiful young woman is wearing a green dress over a white chemise and a russet-coloured scarf...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

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...

Venetian painter (late 19th century) - Venice, view of the Riva degli Schiavoni with carnival masks. 30 x 40 cm without frame, 46 x 53 cm with frame. Oil on panel, in a carved and ...

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

The name Zoraida in Arabic means "captivating woman" Large Antique 19th Century Dog Painting of a Poodle Inscribed "Zoraida" Oil on canvas, original frame 37 x 29.5 inches This is...

Attributed to Juan Bautista Martínez del Mazo (Castile 1611 - Madrid 1667) pupil and collaborator of Diego Velázquez Portrait of Charles II, King of Spain, as a child (1661 -1700) Spain, c. 1670 Oil on canvas 68 x 49 cm. - In antique frame 96 x 75 cm. The analysis of this portrait, and in particular the style with which its features have been outlined, brings us back to the great tradition of the 17th century Spanish school. The portrait depicts the young King Charles II of Spain, dressed in typical Spanish fashion, the youngest and only son of Philip IV of Spain and his second wife Maria Anna of Austria, as well as the last of the Habsburg dynasty to rule Spain. which portrayed the young ruler in full length at the age of four (dated 1665), dressed in a black suit and cape, and a large feathered...

Moses with the Israelites before Parting the Red Sea circle of Matteo de Pitocchi (Italian 1626-1689) oil on canvas laid on board, framed framed: 26 x 48 inches canvas: 21 x 43 inche...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame. Condition report: Good state of conservation of the pictorial s...

'Cain et Abel' Circle of Franois Devosge (1732-1811) French pencil drawing with watercolour wash on paper size: 12.25 x 9 inches private collection, France The painting is in overall...

This exquisite 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

Flowers - Carlo De Tommasi Italia 2007 - Oil on canvas cm. 80x50. With frame cm. 100x70 Frame available on request from our workshop. In this precious oil painting, Carlo De Tommasi ...

Antique Italian Grand Tour Oil on Canvas painting, "Mary Magdalene," by Achille Leonardi (Italian, 1800-1870), circa 1840. The painting depicting Mary Magdalene looking skyward and in the manner of...

This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

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...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

The workshop of Guido Reni (Bologna, 1575 - Bologna, 1642) The Virgin at Prayer (or Mater dolorosa) Oil on canvas 77 x 64 cm, framed 97 x 83 cm. The Madonna of our canvas is depict...

This rather special Italian Old Master religious portrait oil painting is attributed to a follower of Giovanni Battista Salvi, or Sassoferrato as he is better known. Painted circa 17...

'Mgnaminia' 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...

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Regatta in the gulf - John Stevens Italia 2006 - Oil on canvas cm.40x80. Using thin washes of oil paint, John Stevens slowly builds up his highly detailed paintings of scenes of nava...

Antique Italian Grand Tour Oil on Canvas painting, "Mary Magdalene," by Achille Leonardi (Italian, 1800-1870), circa 1840. The painting depicting Mary Magdalene looking skyward and in the manner of...

Carlo Dolci (Florence 1616 - 1686) shop Mater Dolorosa, known as Our Lady of the Finger Oil on oval canvas, 29 x 23 cm. In frame 48 x 43 cm. The painting we present to you depicts ...

Portrait of a Noble Lady English artist, mid 18th century circle of Thomas Gainsborough (English 1727-1788) oil on canvas, unframed canvas: 30 x 25 inches provenance: private collect...

Flowers - Oil on canvas cm.70x90, Luigi Degli Espositi, Italy, 2002 Gold leaf gilded wooden frame available on request

Flowering Tree - Oil on Canvas cm.100x80 by Giovanni Bonetti, Italy, 2002 Undisputed artist of still life, Giovanni Bonetti reveals his originality and shrewd mastery in this precio...

Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Dutch School. Oil on canvas Dutch School. Circle of Peter Nason (Amsterdam, 1612 - 1690 The Hague). Portrait of a military commander in armor with a marshal's staff. In the portrait of the illustrious general Raimondo Montecuccoli, it can be observed that he still appears without the Order of the Golden Toson. This detail suggests that the portrait could be dated before 1664. Raimondo Montecuccoli was a famous general and military strategist of the 17th century in the service of the Habsburg Empire. Born in 1609 in Italy, Montecuccoli fought in numerous European wars, distinguishing himself for his tactical and strategic abilities. He is best known for his victories during the Thirty Years' War and the war against the Turks. Montecuccoli is also remembered for his writings on military theory, which influenced subsequent generations of commanders. He died in 1680. Montecuccoli came from a noble Italian family but chose to pursue a military career in the service of the Habsburg Empire. He studied in Vienna and fought in numerous battles and military campaigns, earning the trust of Emperor Leopold I. Montecuccoli was known for his discipline, his ability to adapt to situations on the battlefield, and his skill in leading troops with cunning and determination. Montecuccoli fought in many significant battles during the Thirty Years' War and the wars against the Turks. Some of his most famous battles include the Battle of Lens in 1648, where he achieved a decisive victory against French forces, and the Battle of Vezekény in 1664, where he defeated the Ottoman army. He faced adversaries such as the renowned French general Turenne and the great Turkish commander Kara Mustafa...

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...

Roman School 17th - 18th century Circle of Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato 1609 - Rome 1685) Virgin at Prayer Oil on canvas 48 x 40 cm. Splendid frame ...

18th-century Spanish Colonial School Attributed to Juan Pedro López (Caracas, Venezuela, 1724 - 1787) Saint Michael the Archangel Oil on canvas 91 x...

Charles Towne (1763-1840) A bay hunter in a landscape signed and dated 'Charles Towne Pinxit 1816' lower left Oil on canvas Painting Size - 20 x 26 Framed Size - 25 x 31 in Provena...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

This superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, ...

Tiberio Titi (Florence, Italy, 1573 – 1638) Title: Portrait of a Gentleman Medium: Oil on panel Dimensions: Without frame 122 x 91 cm – with frame 162 x 133 x 10 cm Publications: G...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

Bartholomäus Spranger (Antwerp, 1546 - Prague, 1611) Workshop/circle of Adoration of the Shepherds Oil on canvas 114 x 90 cm. Framed 126 x 101 cm. The proposed painting, illustrati...

Italian artist, 19th century Still Life with Hunting Dogs indistinctly signed oil on canvas, unframed Canvas: 14.25 x 24 inches Provenance: private collection, UK Condition: very goo...

This stunning British 18th century Old Master portrait oil painting, with exceptional provenance, is by noted artist George Romney. It was painted in 1788, commissioned by James Evelyn of Felbridge as it is of his younger daughter Anne, aged 20 years old. James was a Doctor of Law and Anne's mother was his second wife, Jane. Felbridge house, Anne's home, was in the village of Godstone in Surrey. This superb oil painting is a seated portrait of Anne, wearing a white dress with a green sash, her forearms exposed and her hands in her lap. Anne is blessed with the most wonderful long auburn curly hair and is visually stunning. Her body is partly turned away from the artist/viewer and she is slightly gazing down at us with confident, clear eyes. Anne is pictured in a landscape with a dramatic sky behind her. Romney's brushwork on her dress, hair and the background is superb. The delicate detailing of her facial features is also stunning. Sometimes Old Master portraits can be a little staid, but this one of Anne with her wild auburn hair and bold look is just magnificent. This is a fantastic example of George Romney's work and of an 18th century British Old Master with exceptional detailed provenance. Name plate states: Anne, younger daughter of James Evelyn of Fellbridge Esq. 1788, aged 20. Romney. Provenance. With Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851) With The Hon. Henry Berkeley Portman (1860-1923), Later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) By 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962) Thence by family descent. Painted in 1788. There are various labels verso. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, p.18, no. 3, at Buxted Park, as in the 'Dining Room, South Wall'. Further Bibliography: Gower (R. S.) Romney, London, 1904, p. 175 Kidson (Alex) George Romney, A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 2015, I, p. 205, no. 422 (illus).Ward (Humphrey) and Roberts (William) Romney: A Biographical and Critical Essay, London: T Agnew & Sons, 1904, p. 51 Condition. Oil on canvas. Image size 30 inches by 24 inches and in good condition. Frame. Housed in an ornate gilt frame with name plate, 37 inches by 31 inches and in good condition. George Romney (1734-1802) was born in Dalton-on-Furness, Lancashire, on 15 December 1734, the third of the eleven children of John Romney and Anne Simpson. Leaving school at the age of eleven, he worked for eight years in his father's cabinetmaking workshop before being apprenticed to a local painter, Christopher Steele, with whom he served for two years, from 1755 to 1757, in Kendal, York, and Lancaster. He married a Kendal girl, Mary Abbot...

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

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Still life - Salvatore Marinelli Italia 2007 - Oil on canvas cm. 50x100 Salvatore Marinelli's painting is a still life with black and white grapes, peaches, melon, a basket of pomegranates and figs. Objects and light are intensely studied and are painted with wonderful tenderness with variety of fruits. Marinelli is inspired by one of the many works by Adriaen Coorte...

Jean-Baptiste Oudry (Paris 1686 - Beauvais 1755) circle of - Hunting scene with greyhounds. 21 x 27 cm without frame, 26 x 32 cm with frame. Antique oil painting on panel, in a car...

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

This large superb British Old Master horse portrait oil painting is by noted artist John Boultbee. Painted circa 1790, the composition is a beautif...

This captivating work belongs to Elias Martin’s later period, characterized by his exploration of historical, biblical, and mythological themes. As Mikael Ahlund, Director of the Gus...

Dutch/English artist Abraham Hulk the Younger (1851-1922) is most known for landscapes of the British countryside. This work is one of a pair (the second work is also available by s...

Hans (or Johann) von Achen (Cologne 1552 - Prague 1615) workshop Adoration of the Shepherds Oil on canvas 112 x 90 cm./ Framed 125 x 102 cm. The painting that we are happy to prese...

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...

El estado de la obra es aceptable Se presenta enmarcada la pintura con un marco bastante actual Medidas obra: 30 cm altura x 24 cm ancho. Medidas marco: 39 cm altura x 33 cm ancho.

This superb large three quarter length British Old Master portrait in a landscape oil painting is attributed to circle of John Vanderbank the Younger. Painted circa 1738 the sitter is Mrs James Hoste of South Wootton and Sandringham, nee Hammond. She was the daughter of Anthony Hamond and Susan Walpole, daughter of Robert Walpole, and was sister to Robert, 1st Earl of Oxford. She married Major James Hoste of Sandringham, Norfolk, and they had two daughters. The sheen of her blue satin dress against her gold cloak is stunning. A really lovely 18th century portrait with excellent provenance. Inscribed with sitter details lower left. Provenance. By descent within the family of the sitter at West Acre High House, Norfolk; Cheffins, Cambridge, 'West Acre High House' sale, 24 November 2010, Lot 519; Wood Hall, Arkesden, Essex. Literature: 'Portraits in Norfolk Houses', Prince Duleep Singh, 1927, No. 36. Sitter's details on two labels verso. Condition. Oil on canvas, image size is 50 inches by 40 inches and in good condition. Frame. Housed in an ornate gilt frame, 58 inches by 48 inches framed and in good condition. John Vanderbank (1694-1739) was an English portraitist and book illustrator, who enjoyed a high reputation for a short while during the reign of King George...