Old Masters Paintings

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Sculpture Oil on canvas 112 x 86 cm In original lacquered frame 122 x 95 cm Work accompanied by expertise ...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Portrait of Lady Diana Bruce in a Blue Dress with Cut Sleeves c.1660-1670 Circle of Sir Peter Lely (1616-1680) Presented by Titan Fine Art is a captivating portrait of the noble Lad...

This fine late 17th-century Flemish portrait depicts a distinguished gentleman dressed in the elaborate fashions of the 1670s. He wears a long, collarless coat known as a justaucorps...

Provenance: Private Collection, Argentina; there acquired by Mr. and Mrs. Ernest T. Harper, New York, by 1960; by descent to: Mr. and Mrs. Alan Harper, New York, until 2024. This extraordinary mirrored frame is an exuberant and nearly perfectly preserved example of Andean 18th-century decorative art. Pierced mirrored rosettes surrounding floral motifs are set against mirrored surrounds along a broad frieze bordered within and without by elaborate raised moldings, inlaid by small, shaped mirrors. Repeating ornamental motifs reflecting both Spanish and indigenous designs surround both the inside panel and the exterior perimeter, the four corners of which are punctuated by mirrored rosettes. Glass mirrors were unknown to the indigenous population of the Americas prior to the arrival of Europeans (obsidian mirrors...

Still life - Salvatore Marinelli Italia 2007 - Oil on canvas cm. 60x40 Salvatore Marinelli's painting is a beautiful reinterpretation by Pieter Claesz Dutch Baroque painter, one of the best known specialists in still life, having banquet scenes as its main theme. In Marinelli's painting the gold and silver colors emerge clearly on the dark background and on the gold velvet tablecloth...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

Charming 19th-century oil on panel attributed to the Flemish School, anonymous artist. This work depicts an intimate interior scene with several figures engaged in daily life, charac...

Jan Brueghel the Younger (Antwerp 1601–1678) workshop of Noli me tangere Oil on canvas 97 x 128 cm - In frame 114 x 143 cm This is a fascinating work, both for its subject, featuring Christ and Mary Magdalene, and for its execution, displaying all the distinctive characteristics of the Flemish painter Jan Brueghel the Younger (Antwerp 1601–1678), son of one of the most important dynasties of Flemish painters, being the heir of Jan Brueghel the Elder...

Virgin with Child, studio of Giovanni Pietro Rizzoli, known as Giampietrino (active Milan 1495-1550) Not signed Oil on poplar panel, h. 63 cm (24.8 in), w. 49 cm (19.29 in) Important...

Flemish School, 1600s Landscape With Pan and Syrinx painted around the 1600s oil on copper 19 x 23.5 cm frame 29 x 34 cm Hand-made oak frame by Swedish frame maker Christer Björkma...

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...

CHILD - Pastel on paper cm.51x41 signed lower right by Alfonso Grassi, Italy. Wooden frame with passeportout cm.94x73

Still Life With Hummingbird 20th Century Still life, fruit and Flowers, oil on canvas, signed Schroter, 30" x 24" canvas, with frame 40" x 33" Schroter was born in April 1959, in Y...

Frans Van Der Mijn (Düsseldorf, Germany, 1719 - London, UK, 1783) Title: Portrait of a gentlewoman Year: 1756 Medium: Oil on canvas Dimensions: without frame 71.8 × 59.5 x 2 cm Pain...

Roman school of the 17th/18th century The nymph Daphne with Cupid Oil on canvas 49 x 57 cm Framed 69 x 75 cm This extremely pleasing and decorative painting depicts a nymph ...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

This painting depicting the suicide of Lucretia intrigues us with its strangeness. Although inspired by the artworks of the Master of Female Half-Lengths, it differs from them in its...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

A wonderfully detailed interior genre oil painting by Flemish artist Louis Tielemans (1826-1856). Tielemans was born in Anvers, and became known for his active genre scenes, emulatin...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...

French school early 20th century, Portrait of a hunter signed lower right, the signature has not yet been deciphered oil on canvas 40 x 32.5 Framed : 47 x 39 cm In good condition, ...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

Christ on the Cross attributed to Jan Luyken (Dutch, 1649–1712) inscribed 1674 upper corner pencil drawing, watercolor and ink wash on paper over oard, framed framed: 12 x 11 inches ...

This fantastic Flemish 17th century Old Master oil painting is by Thomas Van Apshoven. It was painted circa 1650 and depicts a village with figures outside a tavern, eating, drinking and dancing. Beyond are more dwellings, villagers and animals, all under a blue summer's sky. The detail, brushwork and vibrant colouring are superb. This is an excellent example of Apshoven's work and a typical subject he loved to paint. Provenance. Leominster estate. Wax stamp verso. Condition. Oil on panel, 22 inches by 17 inches and in good condition. Frame. Housed In beautiful gilt frame, 30 inches by 25 inches and in good condition. Thomas van Apshoven (1622– 1664) was a Flemish painter known for his landscapes with peasant scenes and genre scenes in interiors. His genre scenes depict village festivals, the interiors of taverns, village scenes or landscapes with peasants engaged in various activities, singeries, guardroom scenes and laboratories of alchemists. Some still lifes have also been attributed to him. His themes and style are close to that of David Teniers the Younger. He was born on 30 November 1622 in Antwerp as the eldest son of Ferdinand van Apshoven the Elder and Leonora Wijns. His father was a painter who had studied with Adam van Noort and had become a master of the Antwerp Guild of Saint Luke in 1596. No paintings by his father are known. His younger brother Ferdinand van Apshoven the Younger became also a successful painter. Thomas studied under his father. Some sources state that he became a pupil of the prominent genre painter David Teniers the Younger. It is more likely, however, that he was an imitator of Teniers. He was registered as a 'wijnmeester' [son of a master] in the Guild of St. Luke of Antwerp in the guild year 1645–1646. He married Barbara Janssens on 22 March 1645. The couple had four children. The godfathers of the children included the painters Victor Wolfvoet...

Henry Bernard Chalon (London 1770-1849) 'Prime Minister' with jockey John Shepherd up, and owner Sir Mark Sykes Signed and dated 'H.B. Chalon pinxit 181...

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,...

A bustling scene of fishermen, merchants, and visitors in a peaceful and picturesque port village This engaging painting offers a vivid and atmospheric glimpse into daily life in th...

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...

Artist/ School: French School, 18th century Title: The Garden of Gethsemane Medium: oil painting on wooden panel, unframed. painting: measurem...

Allegory of Autumn with worship of Bacchus Studio of Louis de Caullery (Caullery, vers 1580 - Anvers, 1621/22) 17th century Antwerp school Not signed Oil on oak panel Dimensions : p...

Francesco Tironi (Venice, circa 1745 - 1797) View of Venice with the entrance to Cannaregio oil on canvas 59 x 75 cm with frame 72 x 88 cm Work accompanied by a descriptive n...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

Provenance: Fernandez Jimenez, Spain; part a family collection for over 80 years. Prints transported to the New World for use in missionary work and religious instruction often serv...

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

'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...

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...

Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

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...

A highly important Flemish Old Master oil painting by Peter Van Lint (1609-1690), titled "Preparing for the Hunt", the painting is dated & signed by the artist, 1620. The painting wa...

View on the Cannaregio Canal, Venice Italian School, 19th century, after Francesco Guardi, Italian 1712-1793 oil on panel Painting: 8 x 10 inches condition: overall very sound, with ...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...

In an intimate atmosphere dominated by warm colors, Nicolas Loir offers us here a first thought, tightly focused and rigorously arranged, of the Adoration of the Shepherds in the Louvre Museum, in which he expresses his admiration for the art of Nicolas Poussin. 1. Nicolas Loir, a 17th-century Parisian artist inspired by Bourdon and Poussin Nicolas Loir was born in Paris in 1623. His father, a goldsmith, first placed him with Simon Vouet and then with Sébastien Bourdon. At the age of 23, in 1647, he left for Rome, where he stayed for two years, drawing inspiration from the classicism of Raphael and, above all, Nicolas Poussin, whom he met and deeply admired. On his return to France in 1649, he received his first major commissions for religious paintings for Parisian churches, the most prestigious of which was the May of Notre Dame for the year 1650. He also received numerous secular commissions for hotels and châteaux in the Paris region. Admitted to the Academy in 1663, he joined Le Brun's team and participated in the decoration of the royal castles of Vincennes, the Tuileries, and Versailles. Appointed professor at the Academy in 1666, then assistant to the rector in 1668, he died in 1679. He married Marguerite Cotelle, daughter of the painter Jean I Cotelle, a specialist in monochrome paintings, and sister of the painter Jean II Cotelle. Dezallier d'Argenville, who owned several of his drawings, tells us that he was a man of gentle and modest temperament, deeply honest, and highly esteemed by his contemporaries, including as a portrait painter. We can see his amiable character features reflected in his portrait by Jean Tiger, which is kept at the Palace of Versailles (4th photo in the gallery). 2. Description of the painting and related artworks Our painting depicts the adoration of the Holy Child, presented in the center of the composition on a pristine white cloth that catches the eye, by the shepherds. While the figure draped in yellow on the left is likely Saint Joseph, the Virgin Mary is depicted from the front, contemplating the Child with her right hand raised, her fingers spread as if to indicate her amazement at the realization of this Mystery. The five figures on the left, all dressed quite simply, are the shepherds who have come to worship the Child, as evidenced by the kid goat lying at his feet. Two cherubs carrying phylacteries fly in the sky and complete the composition. Our Nativity was painted in oil on canvas coated with a brown-red preparation, visible in the two upper corners left unpainted, which is typical of French painting in the mid-17th century and found in the work of Nicolas Poussin. The overall atmosphere of the painting reveals Poussin's decisive influence, whether through the color palette dominated by primary colors (the blue of the Virgin's cloak, the orange-red of the shepherds' cloaks on the right, the bright yellow of St. Joseph's cloak on the left), the rather tubular treatment of the figures, but also through numerous direct references to Poussin's paintings. Examples include the two cherubs, which seem to be inspired by those above the Martyrdom of Saint Erasmus...

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...

This superb German Old Master still life oil painting is attributed to circle of Johann Amandus Winck and also shows the influences of the Dutch Old Masters. Painted circa 1780 the p...

This superb British 18th century Old Master capriccio oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning river landsca...

Nicolaes Maes (Dordrecht 1634 - Amsterdam 1693) circle of - Portrait of a Gentleman. 81 x 65 cm unframed, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved an...

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...

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...

Country scene - Oil on canvas cm.80x120, Giovanni Santaniello, Italy 2002 Gold gilded wooden frame available on request The painting by Giovanni Santaniello depicts a scene of return...

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...

Portrait of Arab Man in Turban French artist, 18th century oil on canvas, framed Framed: 21 x 16.5 inches Canvas : 18.5 x 14 inches Provenance: private collection, France Condition: ...

English School, early 20th century signed oil painting on canvas, unframed canvas: 17 x 24 inches provenance: private collection, Eng;and condition: good and sound condition, minor ...

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...

Oil on unlined canvas, stamped 26 x 21¼ inches; 66.5 x 54 cm Framed dimensions: 95.5 x 83.5 cm ‘Wood & Co 190 Brompton Road London SW’ Signed with monogram and dated ‘1878’, centr...

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

Classical Still Life of Flowers by the Miguel Canals Studio, Spain oil on canvas, unframed canvas: 23.5 x 18 inches Provenance: Private collection Condition: very good condition Fo...

Antonio Joli (Modena, 1700 – Naples, 1777) Pair of views of Rome 1. View of Rome with Trajan's Column and the Church of the Holy Name of Mary 2. View of Rome (Piazza Colonna) ...

Portrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...