Old Masters Art

Flemish master (17th century) - Suicide of Cleopatra. 87 x 116 cm without frame, 104.5 x 133.5 cm with frame. Antique oil painting on wood...

Francis Swaine (1725-1782) Shipping in choppy seas Oil on panel Oval Painting size - 4 x 5 in Framed size - 15 x 16 3/4 in Little is known about Swaine’s early career, although Roya...

Francis Swaine (1725-1782) A Naval engagement Oil on panel Oval Painting size - 4 x 5 in Framed size - 15 x 16 3/4 in Little is known about Swaine’s early career, although Royal Nav...

Johannes Hendrik Eversen (Dutch, 1906 – 1995) Still life with salmon Oil on canvas Signed and dated ‘ J. H. Eversen / 1961’ (lower right) 20 x 28 in. (50.8 x 71 cm.) Johannes Hendrik Eversen was born in The Hague on 30th May, 1906. He was a descendant of the well-known 19th century artist, Adrianus...

English master (c. 1770) - Horses by the river. 53 x 70 cm without frame, 67 x 86 cm with frame. Antique oil painting on panel, in carved and gilded wooden frame. Condition report...

Francis Swaine (1725-1782) Shipping in choppy waters Signed 'Swaine' lower centre Oil on panel Oval Painting size - 4 x 5 in Framed size - 15 x 16 3/4 in Little is known about Swain...

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...

Step into the captivating world of a bygone era with this remarkable small-scale oil painting on copper, measuring just 12 x 17 cm. Executed during the 17th century, most likely in t...

This work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011).  The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture.  Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree.  The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining.  The sumptuous fabrics convey a sense of wealth and prestige.  The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age, and the style of clothing and hair, this portrait can be dated to the 1730s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence.  He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's.  He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy.  In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror.  Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society.  Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France.   The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day.  Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements.  She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come.  One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors.  According to Nancy Mitford...

18th century French School François de Troy (1645 – 1730), Paris, circa 1725 Portrait of a Woman as the Goddess Ceres Oil on canvas: h. 39 in, w. 31.3 in Regency style frame in richl...

Very large Flemish Old Master biblical oil painting Belgian/Dutch, 17th Century Frame: Height 93.5cm, width 219cm, depth 5cm Canvas: Height 66cm,...

School of Giovanni Serodine (1594/1600, Ascona - 1630, Rome) Jesus and the Samaritan Woman at Jacob's Well Oil on canvas 53 x 44 cm (with frame) ____________ In the New Testamen...

Francis Sartorius (1734-1804) Belford by Old Cade Signed and dated 'F. Sartorius pinxit 1776' lower right Oil on canvas Canvas Size - 25 x 30 in Framed size - 35 x 40 in Contained in...

Attributed to Peter Monamy (London 1681-1749) The Evening Gun Oil on canvas Canvas size - 27 1/2 x 39 1/2 in Framed size - 32 1/2 x 44 1/2 in Peter Mo...

WILLIAM HOGARTH (BRITISH 1675 – 1764) BEER STREET 1751(Paulson 185 iii/iii) Etching and engraving Design’d by W, Hogarth lower left, Publish’d according to act of Parliament Feb 1...

17th century Dutch old master painting - A countryside road in a dune landscape Monogrammed and dated “VG 1633” on the left on the lower slat of the...

Valerio Castello (Genoa, 1624 - Genoa, 1659) - workshop The Last Judgement with detail of the Resurrection of the Bodies (Probable preparatory sketch for fresco) Oil on canvas (73 x 35 cm. - With frame 85 x 47 cm.) This fascinating canvas shows us a particular moment of the Last Judgement, an extremely rare subject that was particularly popular with Baroque painters, as it allowed them to engage with contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by sumptuous theatricality. The composition fits easily into the mid-seventeenth-century Genoese milieu and precisely into the figurative repertoire of Valerio Castello (Genoa, 1624 - 1659), an interpreter of a new compositional conception, breaking with the previous pictorial tradition, through a recovery of the masters of sixteenth-century Mannerism and a careful observation of the works of the Flemish and Venetian painters present in abundance in Genoese collections. Nobody like Castello was able to interpret, through the liveliness of the compositional rhythm and palette, the new feeling of an era that favoured a strong theatricality, which is well suited to our subject. In the upper part, the painter emphasises the figure of Christ the judge, enveloped in a celestial light and accompanied by messenger angels; these creatures, sounding trumpets, announce the Day of Judgement and the destiny of mankind; for the elect there will be the ascent into heaven, while for the damned the fall into hell. Our canvas illustrates a particular event of the Last Judgement, the moment when the dead are slowly awoken from their sleep. At this stage, the bodies of the men rise from the bare earth, in a depiction of intense drama, helpless, many still wrapped in shrouded bandages. With still numb gestures they rise up and try to recover their corporeity, frightened and incredulous: some are still skeletons, some clothed, some still naked, some halfway through their transformation. In the faces of the resurrected we can see the daze caused by the dream of death and the fear of what will happen to them: in fact, it will now be Christ, whom we see pronouncing the Judgement blessing with his right hand, who will judge them and decide whether theirs will be a destiny of bliss or damnation. In the background we can recognise Charon towing the damned in his boat, surrounded by devilish figures, escorted towards Hell, announced by the glow of flames. The structure of the painting, with the two mighty figures positioned at the bottom corners almost forming two portions of an arch, would suggest that we are dealing with a valuable preparatory sketch, a study for a fresco or a larger, more complex altarpiece; this suggests that the final work was intended for the decoration of the main bay of a residence or private chapel. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in by Antichità Castelbarco...

Bartolomé Esteban Murillo's Atelier (Seville 1617 - 1682) Ecce Homo Spanish master of the seventeenth century Oil on canvas, 56 x 43 cm. Framed 71 x 60 cm. This intense Ecce Homo, ...

Lombard School 16th - 17th century Penitent Magdalene and two angels Oil on panel 63 x 49 - Framed 89 x 75 The protagonist of this splendid panel is a...

Workshop of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Attributable to Lazzaro Baldi (Pistoia 1622 - Rome 1703) Immaculate Madonna subduing the Dragon, with God the Father and angels Oil on canvas (118 x 92 cm. - In frame 137 x 111 cm.) Of great character and excellent quality, this precious 17th century altarpiece depicting the Immaculate Conception is the work of a talented painter active in Rome at the height of the 17th century. As to its original destination, the format of the canvas suggests that it was intended for the private devotion of the patrons, probably set in an altar of a private chapel. The stylistic features of the painting show that it belongs to the Roman figurative culture of the mid 17th century.   The Virgin stands statuesquely portrayed in a frontal position shrouded in clouds, standing on the crescent moon, while below her wriggles Satan in the guise of a winged monster, leonine body, head and tail of a serpent. Her gaze is turned towards the angel who flies towards her while she is wearing a white tunic and a deep blue mantle, her hands crossed on her chest. Above, the Eternal Father lays his left hand on the head of the Virgin, surrounded by a flock of angels flying among clouds charged with intense glow and play of light, in full Baroque style. The masterful composition draws inspiration from a painting by Pietro da Cortona, characterised by a balanced orchestration based on the gradual transition from evil to good, from Satan to God the Father through the figure of the Virgin. This is the altarpiece painted in 1662 by the great painter for the high altar...

Venetian vedutism of the eighteenth century Francesco Tironi (Venice, about 1745 - 1797) entourage of View of Venice with the Piazza di San Marco Sec...

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 1...

Emperor François-Étienne of Lorraine, Martin van Meytens (Stockholm 1695 - Vienna 1770), workshop of Martin van Meytens (Stockholm 1695 - Vienna 177...

The technique of this luminous architectural drawing with its rigorous perspective is perfectly representative of the creations of the Venetian school’s 18th century vedutists. Simil...

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Miniature Portrait French School, late 18th/ early 19th century framed: 5.5 x 5.5 inches board: 2 x 2 inches provenance: private collection, France condition: very good and sound c...

NICOLAS DE LARGILLIÈRE (Paris 1656 - Paris 1746), circle Portrait of a gentleman late 17th century oil on canvas cm. 59 x 56 with frame 71 x 59 Beautiful portrait, of excellent quality, depicting an austere gentleman who peers intensely towards the observer. He is depicted three-quarters, powdered with the long wig called "Léonine", in a red velvet cloak...

William Hodges (1744-1797) Figures resting by a tree in a classical river landscape Oil on canvas Canvas Size 19 x 30 in Framed Size 25 x 36 in William Hodges (b London, 28 Oct. 174...

A beautiful painting entitled " the cup that cheers" oil on canvas Depicting the hunt about to leave the local hostelry after light refreshment! signed and dated 1893. The size ov...

Venetian school of the seventeenth century (School of Bassano) Deposition from the cross and Lamentation of Christ Oil painting on canvas 50 x 41 cm. In frame 63 x 55 cm. The work in question depicts the dramatic episode, taken from the Gospel, which sees the lifeless body of Christ...

Lombard school of the eighteenth century Margherita Caffi (Cremona 1647 - Milan 1710), circle Still life of outdoor flowers oil on canvas (61 x 89 cm. ...

Titan Fine Art present this elegant portrait which is of a type favoured by Godfrey Kneller’s refined court-style depiction of aristocratic women. The ...

A charming rustic scene of a shepherdess herding her stock of cattle, sheep and goats through an Italianate landscape. Follower of Balthazar Pau...

Portrait of a Nun French School, 19th century oil painting on canvas, unframed canvas : 45.5 x 34.5 inches provenance: private collection, Versailles condition: the painting is in ve...

Circle of Godfrey Kneller Portrait of a gentleman Oil on copper Copper size - 3 1/2 x 2 3/4 in Framed Size - 14 x 12 1/2 in

This charming vintage painting of an early 19th century boy is identified as Viscount Seaham born 1821, later known as Lord George Vane-Tempest, the 5th Marquis of Londonderry. Painted in the style of Old Masters. young Seaham's portrait is a hand painted oil on canvas, with rich red coloring, white satin trousers...

This stunning religious 18th century Old Master oil painting with fantastic provenance was formerly attributed to Jean-Antoine Watteau and latterly to Godfrey Kneller (1646-1723). It...

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

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 of the crucifixion of Chris...

Artist/ School: British School, contemporary Title: Classical Male Nude holding a staff. Medium: oil painting on canvas, framed. Size: painting: 20 x 16 inches, frame: 25.75 x 2...

This superb Italian Old Master religious portrait oil painting is attributed to circle of Bartolomeo Schedoni. Painted circa 1700 it is a half length portrait of the Madonna holding...

This superb Flemish 17th century religious Old Master oil painting on panel is attributed to an artist from the Flemish School. Painted circa 1680 the subject matter is one well know...

17th century life-sized painting of a young boy in prayer This wonderful and enigmatic painting is very skilfully painted, the young boy with gold hair appears to gazing upwards to ...

Francesco Tironi (Venice, ca. 1745 - 1797) Workshop  of View of Venice with the Grand Canal from the church of S. Croce to the church of S. Geremia c. 1770 oil on canvas, cm. 92 x 1...

Oil on panel signed on the flag on the right: "J V Leyden" Provenance: Private collection Eric C. Palmer, London/Wooburn Green. To be found on the RKD: 37352 In this painting we ca...

Ships leaving the harbour and Battle near the coast attributed to Pieter van de Velde. Oil on panel Signed with monogram on wreckwood: "PVV" Peter van de Velde was a Flemish marine ...

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...

This lovely British Old Master portrait oil painting is attributed to the circle of Sir George Kneller. Painted circa 1680 it is a half length portrait in a feigned oval of a lady in...

This rather handsome British Old Master portrait oil painting is attributed to circle of Thomas Gainsborough. Painted circa 1780 the sitter is identified on the name plate as Archiba...

This stunning large 19th century landscape oil painting is attributed to follower of Joseph Turner, possible George William Mote. Painted circa 1850 it is a panoramic landscape loo...

Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to pres...

Views of Rome (Vedute di Roma): Frontispiece for the whole series, with Statue of Minerva. A fine impression of the rare 3rd state (of seven) of this major work, the frontispiece fo...

Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a small...

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...

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he cleaned all the sewers leading...

Figures in a Classical Landscape French School, 18th/ 19th century oil painting on copper, unframed copper: 4 x 5 inches provenance: private collection condition: the work has paint ...

Dutch 17th century old master portrait depicting Captain Pieter Pauw Pieter Pauw was born in 1611 into a prominent Amsterdam family of patricians. Son of Adriaen Pauw, he was baptiz...