Old Masters Art

A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example o...

"Le Point de Bois (Rebecca & Eliezer)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the Louvre. Publisher: Mannocci ...

This lovely British 18th century Old Master oil painting is attributed to the manner of Thomas Beach. The sitter is Robert Monypenny (1771-1834) aged seven. He is the youngest son of...

An original, very large Dutch Old Master oil on canvas which is attributed to circle of Jan Wijnants and was painted circa 1680. The huge canvas is in good clean condition and depicts a wooded landscape with travellers passing through. A delightful very large country house old master painting. Provenance. Private collection, Christies. Condition. Oil on canvas. Very large, image size is 53 inches by 41 inches and in good clean condition. Framed size is 63 by 51 inches. The carved original 17th Century wood frame...

This lovely Old Master portrait oil painting is attributed to the circle of Joseph Wright of Derby. Painted circa 1780 the painting is of a boy in a tunic and wide collar. A really c...

This interesting painting is a British Old Master late 18th century or early 19th century oil painting attributed to Thomas Barker of Bath. It is stylistically very similar to his ot...

"Shepherd and Shepherdess Conversing in a Landscape (Berger et Bergere Conversant)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolita...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

Dujardin, Karel. Frontispiece with stepped fountain; a stone wall with water spout pouring water into a rectilinear basin, from which a second spout pour...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing with the price in the lower right corner. Printed on a Double Circle Fleur de Lys watermark paper, c. 1760, with full margins. A brilliant impression . Note: A view of the Tiber River, Castello Sant' Angelo and St. Peter's Basilica in the distance. Watermark: Double Circle Fleur de Lys References: Robison c/g Hind 29 ii/VII Foclllon 793 Condition: A Roman printing before the numbers added in Paris. Printed on a Double Circle Fleur-de-Lys watermark paper. Right margin folded over 5/8 inches for framing. Usual centerfold as issued in the album. Slight aging to the sheet. Binding holes at the left margin edge Framed with plexi. Plate size: 14 7/8 x 22 7/8 inches Sheet size: 21 5/8 x 30 5/16 inches Frame size: 22 3/4 x 33 1/2 inches Sant’Angelo Bridge, Italian Ponte Sant’Angelo, ancient (Latin) Pons Aelius, ancient Roman bridge, probably the finest surviving in Rome itself, built over the Tiber by the emperor Hadrian (reigned 117–138 AD) to connect the Campus Martius with his mausoleum (later renamed Castel Sant’Angelo). The bridge was completed about AD 135. It consists of seven stone arches and five main spans of about 60 feet (18 m) each, supported on piers 24 feet (7 m) high. In the 13th century Pope Clement IV installed an iron balustrade and in the 16th century Pope Clement VII placed statues of Saints Peter and Paul...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

This superb Dutch Old Master floral still life oil painting is attributed to circle of Simon Pietersz Verelst. Painted circa 1700 the compositio...

Self-portrait with Raised Sabre is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1634. This wonderful piece of art belongs ...

This lovely British Old Master portrait oil painting is painted in the manner of Sir Henry Raeburn. Painted circa 1800, the sitter is Anne Neale Tucker Lauzun. She was born in St Geo...

Mystery Artist Untitled (Young Prince), c. 1800-1900 Oil on canvas 16 x 13 in. Framed: 23 x 19 1/2 x 2 in.

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

Ascension Day in Venice 17th century Antwerp School Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 12.8 in, w. 23.03 in (h. 32,5 cm, w. 58,5 c...

Colonial School, Mexico, XVIII Century "Virgen del Carmen" Oil on canvas 70 x 40 in

Antichità Castelbarco SRLS is proud to present: Painter active in Rome late 16th - early 17th century Andromeda and the monster Oil on canvas 137 x 102 cm. - In frame 152 x 118 cm. The subject of the painting, derived from Ovid's Metamorphoses, is inspired by the myth of the princess Andromeda, daughter of the King of Ethiopia Cepheus and Queen Cassiopeia. The heroine's misfortune was to have a mother who praised her beauty as superior even to that of the Nereids, the sea nymphs daughters of the god Poseidon. According to mythology, the girl was therefore chained to a cliff and offered as a sacrifice to the terrible monster sent to appease the wrath of the nymphs, offended by Cassiopeia's unforgivable pride. Consider that the depiction of this myth, and in particular its climax with Andromeda offered to the monster, had great fortune in Roman Baroque painting...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

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 fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

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...

Lombard School of the 17th century St. Joseph with Flower Stick Oil on oval canvas 92 x 70 cm. In antique frame 106 x 85 cm. The work shows us an intense image of St. Joseph, portr...

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...

This very interesting 18th/19th century Dutch oil painting is attributed to circle or follower of Bernardo Bellotto who was renowned for painting elaborate representations of archite...

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

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

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...

Marshmallows Oil on Canvas 31 1/8 x 31 1/8 in 79 x 79 cm adf0358 "Overtime, French Le-Roy became heavily influenced by the Dutch and Spanish still life painters, particularly the work of Williem Kalf and Luis Melendez. This took his work from a contemporary style to a more traditional genre. This proved popular, leading to more commissioned work, and a second successful exhibition." Irish still life painter David French...

Antichità Castelbarco SRLS is proud to present: The Angel Appears to Hagar and Ishmael Circle of Abraham Govaerts (Antwerp 1589 - 1626) Oil on panel 33 x 50 cm. - with gilded woode...

Belgium, 1805 – 1860 Victor-Jules Génissson was born in Sint-Omer (Belgium) on February 24, 1805. He was the son of Jules and Julie Paulmier. And married Reine Marie Van Bree in 183...

Charcoal on paper, 60cm x 42cm, (74cm x 60cm framed). The picture is framed behind museum quality non-reflective UV glass. Drawings and paintings of the nude were central to academ...

'Dutch Canal' is an original oil painting by an artist in the school or circle of Dutch Golden Age painter Aert van der Neer. Based on the labels on the artwork, the painting has bor...

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discol...

Revelry in a Classical Landscape Italian School, early 18th century (circa 1700) oil painting on canvas, laid on board, unframed board: 20 x 36 inches provenan...

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...

Antonio Alberti (1603 - 1649) Portrait of Cardinal Antonio Marcello Barberini (Florence 1569 – Rome 1646) Inscription on the bottom: F.M D.D ANTONIUS BARBERINUS ROM. O. CAP. S.R.E. ...

This superb exhibited British 18th century Old Master Italian landscape oil painting is by noted artist Thomas Barker of Bath. Painted in 1794 and exhibited at the Royal Academy in 1...

This superb large three quarter length British Old Master portrait in a landscape oil painting is attributed to circle of John Vanderbank the Younger. Painted circa 1738 the sitter is Mrs James Hoste of South Wootton and Sandringham, nee Hammond. She was the daughter of Anthony Hamond and Susan Walpole, daughter of Robert Walpole, and was sister to Robert, 1st Earl of Oxford. She married Major James Hoste of Sandringham, Norfolk, and they had two daughters. The sheen of her blue satin dress against her gold cloak is stunning. A really lovely 18th century portrait with excellent provenance. Inscribed with sitter details lower left. Provenance. By descent within the family of the sitter at West Acre High House, Norfolk; Cheffins, Cambridge, 'West Acre High House' sale, 24 November 2010, Lot 519; Wood Hall, Arkesden, Essex. Literature: 'Portraits in Norfolk Houses', Prince Duleep Singh, 1927, No. 36. Sitter's details on two labels verso. Condition. Oil on canvas, image size is 50 inches by 40 inches and in good condition. Frame. Housed in an ornate gilt frame, 58 inches by 48 inches framed and in good condition. John Vanderbank (1694-1739) was an English portraitist and book illustrator, who enjoyed a high reputation for a short while during the reign of King George...

17th century Dutch Old Master oil painting "The delighted Smoker" This painting is a very enigmatic one with an equally thrilling story. We acquired this work some time ago as attri...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

French painter (19th century) - Four erotic scenes. 17 x 24 cm without frames, 21.5 x 28.5 cm with frames. Antique ink drawings on paper, in wood...

PORTRAIT OF UGO FOSCOLO - Oil on canvas cm.50x40, Antonio Jannone, Italy, 2002. this beautiful portrait of the Italian poet Ugo Foscolo is the painter's pe...

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 ...

Two soldiers is an etching realized by Giambattista Tiepolo in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margins. Reference: D...

This drawing full of freshness presents us with the profile of an elegant lady, drawn by Augustin de Saint-Aubin on a beautiful summer day in 1776, during the early months of Louis X...

Sebastiano Savorelli (Forlì 1667 - Bologna 1722) Attributable to The Infant Jesus with the Cross Oil on canvas 65 x 48 cm. - with frame 81 x 64 c...

Bernard Lucas Sanz (Germany, 1650 - Bergamo post 1710) Saint Alexander Oil on canvas (98 x 72 cm./ In frame 125 x 96 cm.) The painting, depicting Saint Alexander of Bergamo and data...

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...

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)...

Marc Baets (Flemish 1720 - 1785), follower of Pastoral Scene oil painting on canvas, framed framed: 23 x 29 inches canvas : 17 x 23 inches provenance: private collection, England c...

Italian painter (early 19th century) - Moonlight landscape with fire. 76 x 61 cm. Antique oil painting on canvas, without frame. Condition report: Original canvas. Good state of c...

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 light, bright and airy expansive panoramic landscape. There is a river in the foreground and mountains in the background. On the left of the river stands some ruins and on the right, figures are resting under the trees. The palette of blues, greens and very varied and rich with some lovely pinky brown tones for the land on the right. The brushwork is also delicate but confidently executed. A superb example of a British Old Master landscape oil painting, finished off in a carved and gilt wood English Rococo frame with name plate. Provenance. The Asbjorn Lunde Foundation, Inc. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old Master painting, and Asian decorative arts. According to an old label to the reverse, the present painting was once owned by James Northcote (1746-1831) who gave it to William Hillman on 25th May 183(0?) Property of the Bacot family. Christies stamps verso. Watson Gallery London. Remains of label verso. Condition. Oil on canvas, 26 inches by 18 inches and in good condition. Frame. Housed In a carved and gilt wood English Rococo frame bearing Richard Wilson name plate, 33 inches by 25 inches and in good condition. Richard Wilson RA...

A charming scene with romping dogs and spectators watching the cascading water play a trick on an unsuspecting man who is sprayed as he descends the steps, as the fountain was design...

Letter L is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...