18th Century and Earlier Art

Bartolomeo Schedoni (Modena 1578 - Parma 1615) workshop of Portrait of a child (Alessandro Farnese?) First half 17th century Oil on canvas (95 x 66 cm. - In frame 109 x 80) This i...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Aurora sive Tempus Matutinum; Der Wohl und Übel angewandte Morgen (Dawn or Morning Time; The Morning Used for Better or For Worse)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.57" x 16.38" Image size: 17.75" x 14" Condition: Soft handling creases, folds, and scattered faint areas of discoloration to sheet. Three tears skillfully repaired from verso. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - La Medee ou Le Mariage de Jason (B112), Year: 1878 (of original 1648), Medium: Heliogravure, Size: 9.5 x 7 in. (24....

Richard Roper (British, c. 1730-c. 1775) Grey stallion held by groom in the Duke of Grosvenor’s colours Oil on canvas Old chalk inscription '22 Mar 74' verso Property of a gentleman...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Self-Portrait, Year: of Original: 1634, Medium: Etching, Image Size: 5.5 x 4.5 inches, Size: 14 x 11 in. (35.56 x ...

18th century English painter William Hogarth (London 1697 - 1764) School of Hudibras Triomphante (from the poem by Samuel Butler) Circa 1740, England Oil on canvas (62 x 50 cm. - F...

Provenance: Private Collection, Paraguay. This unpublished Head of the Virgin is a new addition to the rich corpus of paintings by Giovanni Battista Tiepolo. While the artist freque...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

This stunning Old Master oil painting is attributed to a follower of Anthony Van Dyck. Painted in the 18th century it is a superb large religious art work...

Carved alabaster sculpture - Hercules and the Cretan Bull. Rome, 17th century. 20 x 12 x h 33 cm. Entirely in carved alabaster, small marks and defects. Separate alabaster base. ...

Oil on Canvas. A portrait of a gentleman is accompanied by the inscription in the upper left corner "Paulus Castellanus Sanator." The word Castellanus could be the very common surna...

They may be damaged and battered, but real historic objects will always give you a sense of awe. Can you sense it, looking at this ancient carved granite which depicts, as it is call...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

Nude female figure is a print realized by Scottish artist Allan Ramsay (1713-1784) after Salvator Rosa, in the late 18th century. Etching on paper. Good conditions, with foxing on ...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...

Italian painter (17th-18th century) - Still life with meat, turkey and game. 70 x 88 cm without frame, 89 x 107 cm with frame. Antique oil painting on canvas, in a carved, gilded a...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Polidoro da Lanciano (Lanciano ca. 1515 - Venice 1565) workshop of - Madonna and Child with Saints John the Baptist and Catherine. 48.5 x 74.5 cm without frame, 65.5 x 90.5 cm with ...

This piece is from a collection of originally designed etchings with drypoints by Rembrandt. It is printed on Ingres D'arches off-white laid paper. The prints are the sixth and final state Posthumous Impression. Printing plates were made in 1650, this collection was printed in 1998. Rembrandt van Rijn was one of the masters of the landscape genre in his prints and drawings. In his etching, "Landscape with a Cow...

Follower of FRANCESCO MAZZOLA, known as IL PARMIGIANINO (Parma, 1503 - Casalmaggiore, 1540) Cupid Carving His Bow (as the triumph of love and desire over reason and knowledge) Oil o...

Ornamental Flowers in a Classical Still Life Composition Italian School, circa 1780's period oil painting on canvas: 32 x 42 inches antique gilt frame: 38 x 48 inches condition: over...

Emperor Jahangir depicted with his harem attendees aboard a pleasure cruise, the water filled with lotus blossoms; symbols of paradise itself. Circa 1750. Gouache and ink with gold ...

Piazza Navona allagata solito farsi nelle Feste di Agosto Etching, 1752 Signed in the plate lower right (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificen...

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...

Antichità Castelbarco SRLS is proud to present: Painting depicting "View of Rome with countryside scene with ancient ruins, with the Palatine from via dei Cerchi", work of high qual...

This superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. Painted circa 1640 it is an Italianate wooded river landscape with drovers and their herd crossing a river with a watchtower beyond. Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. It has Begeyn's characteristic brightly lit cattle and grouping of figures, similar to a comparable painting in the Lichtenstein Princely Collections. The brushwork and details are superb. One can see the influence of his teacher Nicholaes Berchem (1620-1683) and the typical golden glow of the Golden Age painters. This is a stunning 17th century Golden Age oil painting and an excellent example of Begeyn's work. Provenance: With Koetser Gallery, Zurich. Private Collection (Rhine region). Anon. sale, Dorotheum, Vienna, 22 June 2010, lot 357, as by Jacob de Heusch (€18,600). Anon. sale, Christie's South Kensington,18 November 2015, lot 432, as 'Follower of Nicolaes Berchem'; where purchased by the present owner. Note: Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. He is thought to have studied under Nicolaes Berchem (1620-1683), a pioneer of this genre of landscape painting, and travelled extensively to Italy, London and later to Germany in 1688, where he lived out his days as court painter to Frederick III, Elector of Brandenburg (later Frederick I, King of Prussia). The present work was previously thought to be the work of Jacob de Heusch (1656-1701), but has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. A comparable scene, which also includes Begeyn's characteristic brightly lit cattle and a similar figure group, was sold at Christie's Amsterdam, 18 November 2015, lot 110. Another can be found in the Liechtenstein Princely Collections (no.GE 290). Condition. Oil on canvas, image size 21 inches by 18 inches and in good condition. Frame. Housed in a beautiful gilt frame, 28 inches by 25 inches 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...

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

Set of Eight Apostles each oil on panel each framed (different as some are golden, some are not, please view the photos) So far there is no certain attribution. The style of the ser...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Anthoon van Dyck (Antwerp 1599 - London 1641) follower Large canvas depicting ‘The Myth of Jupiter and Antiope’ (Ovid's Meramorphoses, Book VI) Oil on canvas 116 x 150 cm. - with f...

Portrait of Catherine De Mayenne, Duchess of Mantua and Montferrat (1585-1618), 16th Century workshop of Juan PANTOJA DE LA CRUZ (1553-1608) Large circa 1600 portrait of Catherine ...

Madonna and Child, polychrome stucco relief, workshop of Luca della Robbia. Second half of the 15th century. Modeled as half-length, the Child holds his mother's veil in one hand, th...

Giovanni Domenico Campiglia, 'Bacchus Cumampelo', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

Red crayon on cream laid paper, 3 3/4 x 4 inches (95 x 102 mm) ; 3 3/4 x 3 1/8 inches (95 x 80 mm). Each with scattered early repairs done with non-archival tape on the verso; the sm...

An important Old Master oil on canvas painting by the Flemish artist, Jan Cossiers, a follower of the style of Caravaggio (1600-1671). Born in Antwerp in 1600, Jan Cossiers was a pupil of his father, the painter Antoon Cossiers (died 1646/1647), and also studied under Cornelis de Vos...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Meridies; Der Mittag (Noon; The Midday)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.5" x 16.32" Image size: 18.13" x 14.32" Condition: Soft handling creases and folds to sheet. A few light areas of staining and scattered small areas of discoloration in margins. Two small tears skillfully repaired from verso in margins. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

This stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...

Madonna with Holy Child and St. John is a masterful depiction of a tender religious scene, capturing the sacred relationship between the Virgin Mary, the infant Jesus, and St. John t...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788) - River landscape with knights and medieval village. 53 x 70 cm without frame, 64.5 x 80.5 cm with frame. Antique oil paintin...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Vespera; Der Abend (Evening; The Evening)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.5" x 16.63" Image size: 17.38" x 13.63" Condition: Soft handling creases and folds to sheet. Some scattered foxmarks in left margin. Two small tears skillfully repaired from verso in margins. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Christ and the Samaritan woman at the well Attributable to Ludovico Pozzoserrato (Antwerp circa 1550 - Treviso 1605) Oil on the table 37 x 27 cm., In ...

This is an engraving of a tomb monument rubbing that has been highlighted with gold color on a dark grey to black background. The rubbing is of a brass plaque on a stone slab. It has...

The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...

Lucas de la Haye, called Luca Fiammingo (Nivelles, 1612-Rome, 1682) Saint Cecilia and two cherubs Oil on canvas 118 x 91 cm. -Framed 129 x 102 cm. Expertise of Prof. Emilio Negro (Bologna) This evocative painting, which we are delighted to exhibit to you, has Saint Cecilia, the Roman noblewoman who later converted to Christianity and a very popular figure in the Baroque period as the patron saint of music, instrumentalists and singers, at the centre of the composition. She is depicted here as a splendid maiden dressed in regal robes...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

Jacob van Huysum (Amsterdam, 1687 - London, 1746) Attributable Still Life with Flowers Oil on canvas (40 x 30 cm. - Framed 61 x 51 cm.) In this sumptuous still life we see a class...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 8...

Melanie Sherman Vintage Moth II (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches Si...

Tu que no puedes from "Los Caprichos" is an original artwork realized by the Spanish artist Francisco Goya and published for the first time in 1799. The work is an etching and aquat...

Nicolas Poussin (Les Andelys 1594 - Rome 1665) Workshop of Little Moses found by Pharaoh's daughter Oil painting on canvas Measurements: canvas 45 x 59 cm., in frame 57 x 71 cm. We present this splendid work representing the episode, taken from the Old Testament, of the finding of little Moses by the daughter of the Pharaoh (Exodus 2, 1-10), and which reveals from the first glance the unequivocal pictorial style of the painter. Nicolas Poussin (Les Andelys 1594 - Rome 1665). Poussin spent most of his life in Rome giving life to works capable of fusing the ideal of French classicism...

This painting, attributed to the circle of Peter Paul Rubens, presents a classic depiction of the Johannesschüssel—the severed head of John the Baptist on a platter. While Rubens him...