Old Masters Art

Mid Century Dutch Windmill Original Oil in Dutch Impressionist Style Colorful French impressionist style oil painting by F. Simont (Dutch 19th/20t...

'India' 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 con...

19th century oil painting Highland Pony and Retriever, Robert cleminson. A fine painting depicting a Highland Pony and Retriever, with the days bag. An oil on canvas, signed lowe...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

17th-century Genoese School Workshop of Valerio Castello (Genoa, 1624 - Genoa, 1659) Ecce homo Oil on canvas 117 x 99 cm. In frame 138 x 118 cm. The Ecce Homo, the subject of our ...

Domenico Parodi (Genoa, 1672 - 1742) Portrait of Anne Marie d'Orléans (Château de Saint-Cloud, 27 August 1669 - Turin, 26 August 1728), first queen consort of Sardinia and maternal g...

STEFANO DALL’ARZERE (Padua, circa 1520 – 1570) Saint Jerome Praying, with a Landscape in the Background Pen and brown ink, heightened with white over black chalk lines 15.5 x 12 cm...

Provenance: Private Collection, Cranston, Rhode Island (by the 1950s?); by family descent until sold at: Bill Spicer Auction, North Kingstown, Rhode Island, 26 January 2011; where a...

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

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

This painting by Carlo Francesco Nuvolone, the great Lombard master of the mid-seventeenth century, is striking for its dazzling composition and the brilliant colors of Christ's tuni...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

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

Esta obra es un icono religioso de estilo bizantino, característico por su fondo dorado y la representación solemne de figuras sagradas. La escena central muestra a la Virgen María, ...

Artist/ School: French School, 18th century Title: Classical figures within an interior. Medium: chalk on paper, mounted. Size: drawing: 11.5 x 13.5 inches Provenance:...

Androne della Villa di Mecenate a Tivoli, per cui passava l'antica Via Consolare Tiburtina Image dimensions: 50x60 cm. From the collection “Le antichità de’ contorni di Roma (...)” a...

After Bartolome Esteban Murillo (Spanish, 1618-1682), "The Little Fruitseller", Oil on Canvas, 19th century, apparently unsigned, depicting young girl and boy counting money over var...

The sitter is Mary Charlotte Anne Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

'Cain et Abel' Circle of Franois Devosge (1732-1811) French pencil drawing with watercolour wash on paper size: 12.25 x 9 inches private collection, France The painting is in overall...

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

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...

German School, early 20th century oil on canvas, framed framed: 33 x 27.5 inches canvas: 30 x 25 inches private collection, UK the painting is in overall very ...

Francesco GUARDI (1712-1793) Portrait of a Lady Oil on copper 5 1/8 x 4 3/8 in 13 x 11 cm Unsigned Provenance Private collection, France We are pleased to present an exceptional...

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

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...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

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...

French school early 18th Century Portrait of a cleric, oil on canvas 68 x 54 cm, oval Not signed which is normal for this type of artwork I recently had this painting cleaned and r...

The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

Naples - Ettore Ferrante - Italia 2006 - Oil on canvas cm.30x80. Frame available on request from our workshop. Ettore Ferrante is a refined and excellent view painter of the past. ...

A beautiful reproduction of one of the most celebrated Piranesi's masterpieces, realized in a limited edition of a few hundreds in 1990s. The Trajan's Column is the last remaining n...

This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of...

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...

Circle of Giovanni Domenico Tiepolo (Venice 1727 – Madrid 1804) Hercules vanquishing a drakaina (half‑woman, half‑serpent) – interpreted either as Echidna or a personified Hydra c. ...

This lovely 18th century Old Master portrait oil painting is attributed to the circle of noted portrait artist Enoch Seeman. Seeman came from Poland to England as a youngster with hi...

Gabriele Bella (Venice 1730 – Venice 1799) attributed View of Venice with the Guglie bridge (or the Cannaregio bridge, as it was formerly called) circa 1750/60 oil on canvas, ...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

Portrait of a Gentleman in Blue Coat Standing by Curtain c.1695 Attributed to Constantyn Netscher (c.1668-c.1723), not signed The gentleman in this portrait has been depicted standi...

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

Fantastic early portrait of a young man and his pug dog. This painting is most likely British, but it could also be from continental Europe. It dates from the late 18th to the early ...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

Mythological Figures in Woodland Glade Dutch School, late 17th century oil on wood panel, unframed panel: 11 x 9 inches provenance: private collection, UK condition: minor surface sc...

Oil on canvas 50 x 40 inches; 127 x 101.6 cm Framed dimensions: 151.5 x 127 cm Inscribed on plinth: ‘VOTIS X ET XX’ Not signed Painted c.1748 Collections: Christie’s London, 23rd December 1954, lot.272; J. Singer; Somerville & Simpson Ltd, London, by 1985; The Matthiesen Gallery, London; Richard Feigen, New York; Matthew Rutenberg, New York to 2019; Lowell Libson and Jonny Yarker Ltd. Literature: Stella Rudolph, La Pittura del’ 700 a Roma, Milan, 1983, reproduced pl.133; Jacob Simon, Handel, a celebration of his life and times 1685-1759, exh. cat. London, (National Portrait Gallery), 1985, no.196; Catherine Whistler, Baroque & Later Paintings in the Ashmolean Museum, London, 2016, pp.102-105, reproduced p.104 Exhibited: London, National Portrait Gallery, Handel, a celebration of his life and times 1685-1759, 1985-86, no.196, reproduced p.198 This powerful portrait of the antiquarian and courtier Sir Charles Frederick was completed in 1748 by the Roman painter Andrea Casali. Frederick, as comptroller of the royal laboratory, one of the ‘great officers’ of the Board of Ordinance at Woolwich, had just been responsible for the famed pyrotechnic display celebrating the Peace of Aix-la-Chapelle: the so-called ‘Royal Fireworks’ for which George Frederick Handel composed music. Casali’s portrait pays tribute to Frederick’s role as comptroller of the royal laboratory, showing him with a firing diagram and mortar, it also points to Frederick’s interests as an antiquarian with the inclusion of antique relief. Casali had first met Frederick in Rome in 1738, where he had painted his portrait, Frederick subsequently encouraged Casali to travel to London. This probably accounts for the unusual format; rather than a modern man of science, Casali casts Frederick as an alchemist bent on some mystic discovery, as such, it is one of the most unusual portraits of the period. Andrea Casali was a pupil of Sebastiano Conca and then of Francesco Trevisani, who recommended him to the Spanish court in 1736. He enjoyed some success in Rome as a painter of frescoes and altarpieces, notably a large cycle of Scenes from the Life of St Dominic at the cloister of S. Sisto Vecchio, for which he was made a Knight of the Golden Spur in 1729. Casali began painting Grand Tourist portraits in Rome around 1738. His first portrait of Sir Charles Frederick is dated that year Ashmolean Museum, Oxford), it casts Frederick as a focused scholar, showing him seated at an elaborately carved console table, hard at work. In common with other Grand Tour portraiture of the period, Casali includes a famous Roman landmark in the background, in this case the façade of the Pantheon. Horace Walpole noted that it was thanks to the encouragement of ‘Mr Frederick and his Friends at Rome’ that Casali travelled to London in 1741. Charles Frederick was a fascinating Augustan polymath. Born at Fort St George, Madras, where his father, Sir Thomas Frederick, was governor, he successively matriculated at New College, Oxford (1725), was called to the Middle Temple (1728), became a Fellow of the Royal Society (1731) and Director of the Society of Antiquaries (1735). His interests were wide ranging. Frederick was an amateur architect, he designed the monument to Lucy, Lady Lyttleton, in Hagley Church and the monument to Thomas Miller, bishop of Waterford, in Highclere church, Hampshire. He was a numismatist and collector of antiquities, as well as an amateur scientist. It was in the last capacity that he was appointed comptroller of the royal laboratory at Woolwich and clerk of the deliveries in 1746, this was the most junior of the ‘great officers’ who made up the membership of the royal Board of Ordnance. This appointment came through the good offices of the master-general of the Ordnance, a fellow antiquarian, John, 2nd Duke of Montagu. As comptroller, Frederick was responsible for the fireworks celebration of the treaty of Aix-la-Chapelle, for which Handel composed his celebrated music. As Horace Walpole wrote to his cousin, Henry Seymour Conway: ‘Charles Frederick has turned all his virtu into fireworks, and, by his influence with the Ordnance has prepared such a spectacle for the proclamation of Peace as is to surpass all its predecessors of bouncing memory. It is to open with a concert of fifteen hundred hands, and conclude with so many thousand crackers all set to music, that all the men killed in the war are to be wakened with a crash, as if it was the day of judgement, and fall a-dancing, like the troops in the Rehearsal. I wish you could see him making squibs of his papillotes, and bronzed over with a patina of gunpowder, and talking himself still hoarser on the superiority that his fireworks will have over the Roman naumachia.’ Performed in Green Park, the fireworks were mounted on a temporary structure designed by the architect Giovanni Niccolò Servandoni decorated by Adrea Soldi and Casali. Casali’s second portrait of Frederick was completed following the success of the firework display. In this remarkable image, we discover Frederick at work, dressed in almost monastic garb, pouring over an impossibly large tome propped on an antique altar. The altar is identifiable as a Roman relief depicting Victory writing on a shield, the original is at Villa Medici in Rome, but was engraved by Pietro Santi Bartoli...

Equestrian portrait of Louis XIV, Workshop of René-Antoine Houasse, (Paris, c. 1645 - Paris, 1710) Late 17th century French school, c. 1690 Oil on canvas, h. 100 cm, w. 80 cm Importa...

La obra se presenta enmarcada con su marco original de la época (el marco presenta faltas y desgastes) El estado de la obra se puede ver, tiene perdidas y de pintura y faltas en la ...

This confidently executed drawing is a study related to Maratta’s painting La Vergine appare a S.Stanislao Kotska 1687 in the second chapel to the right, in the church of S. Andrea a...

Profusion of Flowers by Thomas Webster, British contemporary artist, late 20th century signed oil on board, unframed board: 30 x 18 inches provenance: private collection, UK conditi...

Jan Porcellis (Ghent 1584 c. - Zoeterwoude-Dorp 1632) attributable Stormy Seascape with Ships Oil on canvas 73 x 96 cm In frame 91 x 115 cm Dorotheum Vienna, Old Master Paint...

A bustling scene of fishermen, merchants, and visitors in a peaceful and picturesque port village This engaging painting offers a vivid and atmospheric glimpse into daily life in th...

Pietro della Vecchia (Vicenza, Italy, 1603 – Venice, Italy, 1678) Title: Bacchus and Ceres Medium: Oil on canvas Dimensions: without frame 109 x 130 cm – with frame 128 x 152 x 8 cm...

An impression from the 1st edition published in 1799, the only edition published during Goya's lifetime. References: Los Caprichos Plate 15; Delteil 52; Harris 50 III.1 Prado ...

This 17th century hand-colored engraving of a lemon entitled "Limon Lavrae", plate 219 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aureorum Cultura Etu...

Inscription on back of drawing: Laughter is mad, and reckless mirth— What does she in this weary earth? Should Wealth, or Fame, Our life employ. Death comes, our labour to destroy; ...

Flemish painter 17th-18th century Construction of the Tower of Babel Oil on canvas 51 x 64 cm Framed 66 x 78 cm If there is a subject in art that has been taken up several times t...

Italian School, 18th century, circle of Giovanni Battista Piranesi Capriccio con arco (verso: study of a man) Brown ink on paper, 39 x 24.5 cm Unsigned Provenance: Private collec...