Old Masters Art

Inscribed, reverse: Fr Brina Provenance: Private Collection, New Jersey. Francesco Brina was one of the “Studiolo” painters, responsible for the panel of Neptune and Amphitrite in F...

Antichità Castelbarco SRLS is proud to present: The Satyr and the Peasant (from Aesop, Fables, LXXIV) Jacob Jordaens (Antwerp 1593 - Antwerp 1678), Follower of Oil on canvas (68 x ...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Morghen in the 18th century. Signed on plate on the lower le...

David Morier (1705-1770) Portrait of a gentleman in red military uniform Oil on canvas Canvas Size - 32 x 24 in Framed Size - 39 1/2 x 31 in Provenance: Sale, Christie's London, 21s...

German School (18th century) A German Pointer with hunting Equipment Oil on canvas Canvas Size 42 x 35 in Framed Size 48 x 41 in

Richard Bankes Harraden (1778-1862) Italian landscape with Monte Socrate (after Jan Both) Signed and dated 1823 on the reverse Oil on canvas Canvas size - 29 x 41 in Framed Size - 37...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

San Sebastian Lombard painter of the seventeenth century - Circle of Daniele Crespi (Busto Arsizio, 1597-1600 - Milan 1630) oil painting on canvas Measurements: 96 x 73 cm., In frame 105 x 82 cm. Saint Sebastian, soldier and martyr of Christ, is a striking figure who returns to art with incredible frequency as one of the most represented saints in the Catholic Church. Protector against pandemics, formerly considered signs of celestial anger imposed on the world for his sins, he was for this reason copiously depicted especially between the 16th and 17th centuries. Immortalized in the moment of his martyrdom, following the death sentence inflicted on him by Diocletian, the Saint is depicted here with great realism: the scene, faithful to classical iconography, portrays him tied to the trunk of a tree and suffering from the arrows that pierce the flesh. Of great emotional impact is the intensity that transpires from his body, illuminated by a powerful light that highlights his figure and illuminates his face with his eyes turned to the sky, in an ardent sentimental expression of dramatic expectation, marked by a realism typical of the Lombard pictorial school of the early seventeenth century. An extraordinarily happy artistic period that saw a succession of excellent artists, such as to find a reasonable term of comparison only in the contemporary Roman, Bolognese and Neapolitan scenes, making Milan, in every respect, like the capitals, one of the nerve centers of painting Italian Baroque. The characters of the canvas, and in particular the physiognomic features of the face, the drooping of the body and the characteristic triangular folds of the loincloth, are elements that recall the style of Daniele Crespi (Busto Arsizio 1598 - Milan 1630), counted among the greatest exponents of the Milanese seventeenth century, despite his premature death due to the Manzonian plague of 1630. He circumscribed his career in Milan, although his pictorial manner seems to gradually detach himself from the current still impregnated with mannerism in which he had formed, dominated by the triad of Cerano, Morazzone and Giulio Cesare Procaccini, towards a classicism of Carraccesque origin. ADDITIONAL INFORMATION: The painting is completed with a pleasant antique frame in black and gold wood. The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

Charles François Grenier De Lacroix, known as de Marseille (Marseille 1700 - Berlin 1782) atelier Mediterranean coastal view with figures and fishermen at sunset Oil painting on can...

This elegant and graceful portrait, presented by Titan Fine Art, was painted by Michael Dahl, whom by 1700 was the most successful painter in England - se...

Pier Francesco Cittadini, known as the Milanese (Milan, 1616 - Bologna, 1681) attributed Portrait of the Marquise Elena Alessandra Malvezzi (born in 1627), at the age of 35, with her Cavalier King It bears the heraldic coat of arms of the Malvezzi family at the top right Inscription with the name of the portrayed Alexandra Mal (vezzi) and dating from the year of the domains MDCLXI, year 1661 Oil painting on canvas 76 x 52 cm., in antique frame 95 x 79 cm. The painting, of unquestionable quality, is attributed to Pier Francesco Cittadini, known as the Milanese for his hometown, who after an initial training moved to Bologna where he had great fortune and where it is presumed that he portrayed our portrayed, the young Marquise Elena Alessandra Malvezzi. The work bears, at the top right, the noble coat of arms of the family, the inscription with her name and the year of execution (the woman was therefore around 35 years old). It is therefore a very precious document, which presents the noblewoman immortalized in the opulence of her dress and distinguished by an aristocratic bearing, as a member of one of the most influential noble families of Bologna. Precious because only one other painting is known in which we find Alessandra Malvezzi portrayed, and precisely the great 'Family Portrait' *, executed around 1645, kept in their historic home, the Malvezzi-Campeggi Castle or Rocca Sforzesca di Dozza (Bologna) ; this work, also attributed to Cittadini, sees immortalized, in addition to the Marquis Carlo Filippo Malvezzi (1595 - 1665) and his wife Ginevra Barbieri (-1692), all the numerous descendants of their nine children [1], including Alessandra, the eldest and therefore portrayed almost eighteen years old, taking a book from her mother's hands. Returning with attention to our painting, the marquise is portrayed with a sumptuous dress according to the typical fashion of the time, which celebrates her aristocratic elegance, while with her right hand she touches the jewel brooch placed at the height of the breast and with the left holds his little Cavalier King. The canvas may have been commissioned on the occasion of her wedding, since the presence of the pet had a precise meaning: since the dog's fidelity is such a well-known characteristic, it at the same time declared the virtues of the woman. The portrait takes up the typical iconographic layout of Cittadini's Lombard-Emilian portraiture, in which the painter does not stick to mere physiognomic reproduction, but also pays attention to gestures, corresponding to a real symbolic code: a woman's hand holds the dog, already mentioned as a symbol of fidelity, the other touches the pendant pearl of the jewel, a symbol of love in its fullness, of innocence. Even the shape of her...

Pompeo Girolamo Batoni (Lucca 1708 - Rome 1787) workshop - Allegory of fire with portrait of the client oil painting on canvas (cm. 82 x 64 - framed cm. 106 x 88) All the details r...

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...

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. ...

'Insubria' 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 ...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

This charming British 18th century Old Master portrait oil painting is attributed to noted portrait artist Thomas Hudson. Hudson was most prolific between 1740 and 1760 and, from 174...

The Dutch Market Early 1700's Dutch School Oil on canvas: 43" x 57.5" (109.2 x 146.1cm) in ornate gilt frame condition: very good for its age, relined canvas and ready to enjoy. pro...

This stunning Flemish Old Master portrait oil painting is attributed to circle of Anthony Van Dyck. Painted circa 1630, the sitter is Frances Stewart née Howard (1578 -1639) Duchess ...

Pastoral Landscape by Peter la Cave (fl. 1789-1816) oil painting on wood panel, framed framed: 12.5 x 15 inches panel: 8 x 10 inches provenance: private ...

Giovanni Battista Cipriani, RA, Italian 1727-1785 Sketch of a mother with three children; black and red chalk on laid paper with watermark '© TAYLOR', 22.4 x 17.5 cm. Provenanc...

Tzar Peter the Great of Russia Arriving in Amsterdam in August 1697 Dutch School, 17th century Circle of Abraham Jansz Storck (c.1635-1708) Dutch Oil on canvas, in a carved giltwood ...

Portrait of a Lady English School, 19th century oil on canvas, framed framed: 18 x 16 inches painting: 12 x 10 inches provenance: private collection condition: very good and sound co...

Flemish painter of the 16th-17th century The Annunciation Oil on canvas 844 x 33 cm./ in frame 63 x 52 cm.) The work presents itself with a canonical iconographic and stylistic scheme, with the Archangel Gabriel devoutly delivering the supreme annunciation to the Virgin child, although there are some details that make the composition very interesting. Entering into the details of the study of the painting, of excellent workmanship, we can immediately appreciate a style rooted in the Flemish tradition, recognising in the compositional layout strong references to the great masters of the Renaissance such as Jan van Eyck, Rogier van der Weyden, Dieric Bouts and Hans Memling...

Dusk Landscape British School, 18th century oil on canvas, unframed painting: 32 x 41 inches provenance: private collection, UK condition: very good and sound condition

Portrait of a Georgian Lady English School, late 18th century circa 1780's oil on canvas, framed in antique gilt frame framed: 22 x 20 inches painting: 14 x 12 inches provenance: pri...

This stunning Dutch 17th century Old Master still life oil painting is attributed to the circle of Jan Davidsz de Heem. Painted circa 1660 it is a magnificent vibrant painting of gra...

This exquisite portrait, presented by Titan Fine Art, bears testimony to the artist’s ability to convey not just a likeness but also a sense of the character of the sitter. The offi...

Attributed to Philips Wouwerman (Dutch, 1619 – 1668) The departure of hunters near a ruin Oil on canvas 24 x 28.3/4 in. (61 x 73 cm.) Provenance: A Schonlank Gallery, Cologne; 28th A...

Antichità Castelbarco SRLS is proud to present: Paolo Caliari known as Veronese (Verona 1528 - Venice 1588) Workshop/cercle Idyll between Venus and Adonis with Cupid Oil on canvas ...

This exquisite late 18th-century copperplate engraving by Johan Frederik Clemens (1749-1831) depicts the Greek philosopher Socrates. It’s after an oil painting by Danish painter, Nic...

Magnificent 17th century Dutch old master painting depicting a merry cavalry encampment This large and rare painting depicts a merry company of soldiers at rest in their encampmen...

Antichità Castelbarco SRLS is proud to present: Rembrandt van Rijn (Leiden 1606 - Amsterdam 1669) circle/following Portrait of a man with turban oil on canvas cm. 41 x 34 Framed 60...

The Grand Canal, Venice Italian School, late 18th century oil on canvas, framed in period gilt frame framed: 27 x 39 inches painting: 24 x 34 inches provenance: private collection, U...

Madonna of the Rose with Child; Italian School, early 1800's oil on canvas, framed framed: 32 x 25.5 inches canvas: 29 x 22 inches Condition: good and sound condition, slight ruckl...

The Rural Cottages Dutch School, 18th century pair of oils on board, framed each framed: 8.5 x 10 inches each painting: 5.5 x 7 inches provenance: private collection, London; Omell G...

Portrait of a Gentleman (biographical details verso) English School, late 18th century circa 1780's period oil on canvas, framed in gilt frame framed: 22 x 20 inches painting: 14 x 1...

Antichità Castelbarco SRLS is proud to present: Scipione Pulzone, known as Il Gaetano (Gaeta, 1544 - Rome, 1598) workshop of Mary Magdalene at the Tomb Oil on canvas (131 x 99 cm. -...

This beautiful drawing, of great technical virtuosity, is one of the many studies made by Ingres for Astraea, one of the key characters in the Golden Age fresco he painted between 18...

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

Follower of Giovanni Battista Salvi, known as Sassoferrato (19th century) - Madonna with Child and Goldfinch. 100 x 80 cm. Antique oil painting on canvas, without frame. Condition...

Follower of Federico Barocci (18th-19th century) - Madonna del Latte. 102 x 80 cm without frame, 132 x 112 cm with frame. Antique oil painting on wood, in a carved and gilded woode...

Diego Rodríguez de Silva y Velázquez (Seville, 1599 - Madrid, 1660) Follower Triumph of Bacchus Oil on canvas 42 x 57 cm. - Framed 74 x 86 cm. Provena...

Flemish painter of the 17th century Christ and the Samaritan woman at the well Oil painting on canvas cm. 76 x 104 - In frame cm. 93 x 121 The work is ascribed to a Flemish painter, active in the seventeenth century, and illustrates the episode, taken from the Gospel of John (Jn 4, 1-30), of the dialogue between Christ and a Samaritan woman at Jacob's well, near of the city of Sicar, from which the woman has just drawn water and then placed it in a jug. The theme (one of the most frequently used in Counter-Reformation Christian art) celebrated the main concepts of the Council of Trent: the encounter with the Samaritan woman has the symbolic meaning of the innovation brought by Christ who offers the good news even to those who are not considered pure Jew. Even the place of the event, rather unusual and certainly not religious, according to biblical tradition, was rich in meanings and historical salvific evocations. The Gospel episode is reflected in our canvas with an interesting translation both in terms of composition and pictorial quality, finding its culmination in the graceful figure of the Samaritan woman, with her elegant pose, underlined by the skilful drapery of her clothes and her gestures. . The author broadens the horizon of the scene, showing the glimpse of the city of Sicar, illuminated by the light of the dawn of a new day, and from which the disciples of Christ are returning - in the Gospel account John, Peter and Andrew are named - followed by others and by the inhabitants curious to see the new Messiah in person. The conservation conditions of the work appear very good. The painting is sold together with a nice frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

This charming 17th century Old Master portrait oil painting is attributed to the circle of Swedish born Michael Dahl who lived and work in England for most of his life. Painted circa...

Italian painter (18th century) - Portrait of a little prince. 37.5 x 33 cm without frame, 46 x 41.5 cm with frame. Antique oil painting on canvas, in a wooden frame. Condition rep...

The Hunting Party Attributed to Dirk Maes (1659-1717) Dutch. Figures in a Classical Landscape, Watercolour and wash on paper, Mounted, unframed image 6.75" x 9.75" (17.1 x 24.7cm)...

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Ref...

This stunning Neo Classical French 19th century landscape oil painting is by acclaimed French artist Jean Victor Bertin. He was also an early proponent of sketching out doors and dir...

This simply superb British 18th century landscape portrait oil painting is attributed to the circle of Constable. Painted circa 1800 it is a fine expansive landscape. There is a shep...

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

Pair of glazed terracotta sculptures (by Canova) - Dancers - Italy, 19th-20th century. h 81 x 30 x 30 cm. Entirely in glazed terracotta. The sculptures take inspiration from the or...

This lovely painting is a British Old Master late 18th century or early 19th-century oil painting by Thomas Barker of Bath. It is stylistically very similar to his other works of the...

Follower of Pietro da Cortona (18th-19th century) - Venus appears to Aeneas as a huntress. 50 x 60 cm without frame, 80.5 x 90 cm with frame. Antique oil painting on canvas, in a c...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Moor Tower" (Plate 173) and "Kirkham Priory" (Plate 328) Portfolio: Buck's Antiquities or Venerable R...

This stunning French 17th century Old Master oil painting is by Baroque artist Laurent de la Hyre. It was painted circa 1645 and has excellent provenance from Christie's. The painti...

This superb Dutch Old Master portrait oil painting is attributed as by a follower of Dutch 17th century artist Gerrard van Honthorst. The original of this painting hangs in Wilton Ho...

This superb Dutch Old Master marine oil painting is attributed to the circle of Jacob de Heusch. Painted circa 1690 the setting is an Italian coast with fisherfolk in the foreground....