Old Masters Paintings

Portrait of the Princess of Conti, member of French Royal family Attributed to Louis Ferdinand Elle the Younger (1648-1717) Late 17th century French school Oil on canvas, h. 100 cm, ...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

An exceptional and rare 16th-century Venetian High Renaissance oil on canvas, titled "Triple Portrait". Elegantly composed and richly atmospheric, this work is firmly attributed to t...

Jacob Huysmans (Antwerp 1633-1696 London) Portrait of a Lady holding a lemon, c. 1665-75 Three-quarter-length, wearing extensive jewellery, within an architectural interior Formerly ...

Studio of Sir Peter Lely (1618-1680) Portrait of Lady Anne (1665–1714), later Queen Oil on canvas 20⅞ x 16¾ in. c.1678 Provenance Capt. H. A. N. Forte of Polock, West Somerset; Chri...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

Gaspare Diziani (Belluno, Italy, 1689 - Venice, Italy, 1767) Title: Venus with Cupid Medium: Oil on canvas Dimensions: without frame 50 x 98 cm - with frame 64 x 112 cm Not signed Gi...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Portrait of Lord Jeffreys of Wem British School, 20th century (presumably after an earlier work) oil painting on canvas, framed framed: 30.5 x 24.5 inches canvas: 26 x 20 inches prov...

Jan van Goyen's 'Landscape with Figures by a Barn' (1637) was painted the year before he was elected hoofdman of The Hague's Guild of Saint Luke, an office that recognized a landscap...

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 Not signed Expertise by Profe...

Jan van Goyen's 'River Scene with Cottages' (1638) dates to the year he was elected hoofdman of The Hague's Guild of Saint Luke, an honor he held again in 1640. By 1638 he had entere...

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 ...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

In historical British portraiture, it's who the sitter is that drives the price. In the present work, the sitter is Mary Charlotte Anne Wellesley-Pole, eldest daughter of William, 4...

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...

Galizia Fede (Milan c. 1578 – c. 1630) Circle Victorious Judith Oil on canvas 116 x 91 cm. – In an antique frame 149 x 125 cm. The work depicts a captivating portrait of the ...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Girl with a Basket in a Lane in the Roman Countryside Oil on canvas, late 19th century Signature and date traces in the bottom right On the reverse, the work bears an ancient autographed dedication reading ‘Authentic Pio Joris’, which confirms its authenticity and enhances its collectible value. This artwork, never before on the market, comes from an important Italian private collection and is beautified by an impressive antique frame in gilded wood. There is an original antique brass plaque...

Artist: Antonio Mercurio Amorosi (Comunanza, Italy, 1660 - 1738) Title: Portrait of a little girl with cat Medium: Oil on canvas Dimensions: without frame 42 x 31.5 cm – with frame 5...

Anton Raphael Mengs (Aussig, 1728 - Rome, 1779) Workshop Portrait of a young girl with a book Oil on canvas 64 x 49 cm - Framed 77 x 63 cm , Unsigned The work, depicting a cha...

This lovely 17th century Old Master floral oil painting is attributed to the circle of noted Franco Flemish artist Jean-Baptiste Monnoyer. Painted circa 1670 it is a still life of a ...

Maestro della Flagellazione di Cesena, active in the second decade of the 17th century Title: The morra players Year: 1620 ca. Medium: Oil on canvas Dimensions: without frame 115 x ...

A fine oil painting on canvas depicting a Portrait of what i believe to be 2 Grand Griffon Vendéen Hunting Dogs. pairs of Grand Griffon Vendéen hunting dogs, as well as single portr...

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...

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...

Vanitas with a sleeping cherub on a rug, flowers, a violin, a globe, hourglasses, and pomegranates Circle of Antonio Tibaldi (Rome, c. 1635 – after 1675) Oil on canvas 70 x 150 ...

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...

Peter Monamy (London 1681-1749) A Calm with a Man of War firing a Salute Oil on canvas Canvas Size 14 1/4 x 17 1/4 in Framed Size 20 x 24 in Peter Monamy was an acclaimed British marine painter of the late 17th and early 18th centuries, renowned for his evocative depictions of seascapes and naval scenes. Born in 1681 on Guernsey, one of the Channel Islands, Monamy displayed an early affinity for art, which was shaped by the maritime culture of his homeland. His works vividly capture the drama and grandeur of the sea, marking him as one of the prominent marine artists of his time. At a young age, Monamy moved to London, where he likely apprenticed with a sign painter. His artistic skills flourished during this period, influenced by Dutch marine painters such as Willem van de Velde the Younger...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

We would like to thank Dr. Ursula Härting for confirming that this painting belongs to the studio of Jan Brueghel the Younger, by means of a certificate issued on December 12, 2024. This rare study, executed directly with a brush on a prepared wood panel without any prior drawing, features some twenty birds, most of them domesticated. It is a fascinating testimony to the transmission of forms created by Jan Brueghel the Elder...

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

Domenico Maria Canuti (Bologna, Italy, 1626 – 1684) Title: Assumption of the Virgin Medium: Oil on canvas Dimensions: without frame 138 x 104.5 cm Not signed Expertise by Professo...

A very fine portrait of a British military officer signed and dated Thomas Beach 1774 in the lower left. This oil on canvas is presented in a period gilt frame and is ready to hang. ...

Attributed Federico Icilio Joni (1866-1946, North Italian Sienese) “Portrait of a Young Boy” 17 ¾ x 14” (on poplar panel) Icilio Federico J...

Circle of David Teniers the Younger An interior with an old woman peeling apples Oil on copper Painting Size - 14 x 18 in Framed Size - 22 x 26 in This charming interior scene, exec...

A historically important watercolour painting, Calcutta 1841 Francis Meynell (1821-1870) Calcutta from Garden Reach; HMShip Calliope Saluting Watercolour on paper Date: 1841 Signe...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...

John Wootton (1686-1765) Figures and horses by a bridge in a river landscape Oil on canvas 27 x 42 in John Wootton was one of the earliest and most influential British sporting pai...

Madonna and Child with a Saint and Heavenly Cherubs 17th Century Italian School, unsigned oil on canvas, framed framed: 20 x 18 inches canvas : 13 x 10 inches Provenance: private col...

Venice - Mario De Angeli - Italia 2006 - Oil on canvas cm. 70x90. Mario De Angeli's canvas is an extraordinary work of Italian landscape painting. They are inspired by the landscap...

This superb French Old Master oil painting with excellent provenance is by Jean Francois I Millet. It was painted circa 1675 and is a figurative landscape depicting Diana hunting in ...

This exquisite late seventeenth-century portrait is a beautifully preserved example of the small-scale courtly cabinet likeness: intimate in format, jewel-like in finish, and unusual...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco de la época de la obra en madera policromada (el marco presenta faltas) Medidas obra: 84 x 65 cm. Medidas...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Not signed. M...

A fine 18th/19th century oil painting in the old master style of the Madonna & Child titled The Rest on the Flight into Egypt, a well known painting circa 1630 by Flemish artist ...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) oil on canvas circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) unsigned The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

In this masterly painting, Francesco de Mura presents the meeting of Erminia and the shepherds, a famous episode taken from the seventh canto of Torquato Tasso's Jerusalem Delivered....

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

'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...

Esta obra es una de las escenas de la Misericordia, en concreto la de "Visitar a los presos" La obra aparentemente no va firmada Se presenta tal cual sin enmarcar El estado de la ...

A fine framed oil on canvas painting by the renowned artist William Sidney coope.Signed and dated 91 lower left. This painting depicts 3 cows resting by a river, a village with hous...

Muy interesante miniatura pintada sobre hueso o similar representando a una Virgen. De finales del siglo XIX. Gran calidad. La Virgen tiene una mirada muy mística. La pintura va co...

La obra no va firmada, es de autor anónimo Se presenta enmarcada la obra El estado de la obra se puede ver, es aceptable, solo presenta alguna leve falta (apreciable en las fotogra...

Dimensions: 36 1/4 x 28 1/2 in (92 x 72.5 cm) - Framed: 44 ¼ x 37 3/8 in (112.5 x 95 cm) English frame in carved and gilded wood, Louis XV style Provenance: Christie’s London – July...

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 Framed : h. 52.36 in, w. 47.63 in Charlotte de Hesse-Rheinfels (1714-1741), daughter of Landgrave Ernest-Léopold de Hesse-Rheinfels-Rotenburg and Éléonore de Lowenstein-Wertheim and Kazazyan, was Princess of Condé by her marriage in 1728 to Duke Louis-Henri de Bourbon-Condé known as Monsieur le Duc. The princess is portrayed seated on a canopy of gilded wood trimmed with raspberry red velvet, the body positioned facing forward while the face is turned three-quarters to the left. The face with a thoughtful and thoughtful gaze is awakened by its large gray eyes, the translucent skin with painted cheeks accentuates the effect of a melted execution of the model. Her powdered and tied hair is adorned with an orange veil which goes down on her shoulders. The separation fades between the powdered hair and the face. Dressed in a golden yellow satin dress embellished with multiple rows of white and black lace flounces at the bodice and sleeves, the neckline of her dress reveals her bare throat. The ermine coat lined with blue velvet is placed behind his shoulders, the sides of the coat come back to the front and are arranged in angular folds on his knees. With her right hand, arm bent at the elbow, she caresses her little dog, while the left arm resting on the armrest of the armchair is extended and the index finger of her open hand points to the right. The positions of the arms and the head generate an illusion of diagonal movement allowing to break the static character of portrait. This stretching of the arms horizontally is characteristic of Nattier's works, the figure thus grows in size in the painting by occupying a larger place there. This process carried out by highlighting the elegance of refined gestures increases the natural grace of the young woman. The sober architectural background is composed of a column draped with a green curtain and flattened pilasters with Ionian capitals. The light coming from the right partially illuminates the figure, leaving the left part in shadow. Illuminated, the young woman's dress reflects golden reflections in warm orange tones, while the velvet of the coat broken into angular folds reveals its surface through icy white ridges. This opposition only accentuates the volumes and textures of the fabrics. The facial features under a subtle effect of blurred appear more softened while the pearly white complexions seem illuminated with an inner radiance. Related works: Our work is a variant of the painting executed by Jean Marc Nattier...

Portrait of a Lady Attributed to Nicolas Fouché (Troyes, 1653-Paris, 1733) Late 17th century French School, Paris, circa 1690-1695 not signed Oil on canvas: h. 99 cm, w. 79 cm Impo...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

Provenance: Private Collection, Paraguay, for at least the last 80 years Painted in the Viceroyalty of Peru during the 18th century, the present work depicts the young Christ as the Niño de la Espina—a devotional representation of Christ as he looks down at his bleeding finger, which has been pricked by the crown of thorns resting on his lap. The subject of the Young Christ Pricked by a Thorn was especially popular in Cuzco, and the rich details and decorative elements of our work perfectly capture the essence and style of the Cuzco School of painting. In our painting, Christ wears an intricately patterned floor-length robe trimmed with gilded cuffs and a gilded collar. The delicate gilding, including the halo of golden rays emanating from his head, are executed in brocateado, an ornamental over-gilding technique that is characteristic of the Cuzco School. The red chair on which Christ sits also includes brocateado in the decorative gilt elements. The form of the chair takes inspiration from those commonly used by friars both in Spain and the Andes, known as silla frailera or sillon frailero, and was also frequently employed in related depictions of the Virgin Mary Spinning. Here the young Christ is rendered with soft, elongated features that reflect the influence of the Italian Mannerist painters who were pivotal to the formation of the Cuzco School, including the Jesuit friar Bernardo Bitti and Matteo Pérez del Alesio. Additionally, while its origins can be traced to Northern European pictorial traditions, the lush flower garland that frames the work is a signature feature of Cuzqueño painting...