Old Masters Art

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

Attributed to Jean-François de Troy (Paris, 1679 – Rome, 1752) Elegant Musical Gathering in an Aristocratic Interior Oil on canvas 46 x 57 cm Circa 1710–1715 This refined and intim...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attrib...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1873 Se presenta enmarcada la obra (el marco presenta algunas leves faltas) El estado de la obra es ...

Fleur de Neige by Jan Van Beers, painted in July 1880, stands out for the delicacy of its depiction. This remarkable portrait depicts a woman dressed in a sumptuous white costume, ad...

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

Louis Lesueur (1746-1803) A Fantasy Landscape with ancient ruins, 1789, signed and dated "L Lesueur 1789" in the bottom centre Pen and ink and ink wash on paper 14.8 x 22 cm In goo...

Pair of angels with floral garland and cartouche with family motto 'Pulchriora latent' Workshop of Carlo Maratta (Camerano, 1625 - Rome, 1713) Dated on parchment, right: 1697 oil on the table (94 x 84cm./ in frame 105 x 95 cm.) This magnificent composition, depicting two little fluttering cupids intent on holding up a garland of flowers, can be traced back, both for the stylistic characteristics and for the compositional taste, to a master active in the fervid seventeenth-century Baroque Rome. One of the two cupids is about to grab the bow of the garland with his head facing downwards, while with the other hand he shows a parchment which bears, in addition to the date of execution, the Latin expression "Pulchriora latent" ("The the most beautiful things...

La obra no va firmada El estado de conservación de la pintura es aceptable, solo comentar que la tela está reentelada Se presenta enmarcada la obra con un antiguo marco en madera p...

Artist/ School: French School, 20th century Title: Mythological Scene with Figures in Classical Landscape Medium: oil painting on board, unframed Size: board: 19.75 x 27 inches ...

Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some foxing and folding ...

Ferdinand von Kobell (1740–1799) Figures by a River at the Edge of a Wood Black chalk, stump and white chalk highlights, on paper 19 x 28.8 cm Signed and dated lower right: 1777 P...

The Adoration is an original modern artwork realized by Giuseppe Assereto (died in Genoa in 1650) in the first half of the 17th Century. Original Oil Painting on Canvas. A 19th Century style gilded wood frame is included. The Autograph of the work was confirmed by Camillo Manzitti. Very good conditions. The frame is in excellent conditions too. Reference: C. Marcenaro, Pittori genovesi a Genova nel '600 e nel '700, Genova 1969, pp. 134 ; 135, n. 55. Z. Wazbinski, Un Quadro Caravaggesco Di Gioacchino Assereto, in Prospettiva, n. 26, 1981, pp. 60 ; 63. F. R. Pesenti, La Pittura in Liguria. Artisti del primo Seicento, Genova 1986, p. 397, nota 23. A. Gesino, Tracce di Matthias Stom nel collezionismo tra la Sicilia e Genova, in Caravaggio e i genovesi, catalogo della Mostra a cura di A. Orlando, Genova 2019, pp. 182 ; 195. The Adoration is an excellent example of the XVII Century Italian Painting. The style of the work denotes the suggestive influence of Assereto father's mature production, when influenced by Mathias Stom (Amersfoort, about 1600 - Sicily, after 1650) expresses dark sensibilities in a southern Italian style. In his works, however, there is an accentuated naturalism and interesting similarities with the production of Giovanni Benedetto Castiglione. Gioacchino Assereto died in 1650, while, according to Soprani, he was intent on painting a Last Supper for the oratory...

Daniel CLOWES (1774-1829) after George Stubbs Mares and Foals in a Landscape oil on canvas 29 x 33 inches, inc.frame Daniel Clowes lived and worked in Chester all his life and ...

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...

Pietro Bardellino (Naples, Italy, 1731 – 1806) Title: Mary Magdalene Medium: Oil on canvas Dimensions: without frame 75 x 60 cm – with frame 97 x 82 cm Antique shaped and carved wood...

Luis de Morales, called 'El Divino' (Badajoz 1509 - 1586) workshop of La Pietà with Saint John Oil on panel (82 x 65 cm /In frame 109 x 92 cm) STATE OF CONSERVATION: The panel is in good condition, with restorations and cracks clearly visible from the pictures. Gilded and lacquered wooden frame, in good condition. We present this intense Pietà executed on wood panel, the work of a painter of the late Spanish Renaissance who drew on the celebrated iconographic model created by Luis de Morales, known as El Divino (Badajoz 1509-1586), a subject reproposed by the artist and then by his flourishing workshop in numerous versions. This is an extraordinary work, in which the author demonstrates incredible realism and emotional depth in his portrayal of the Madonna and Christ, accompanied by Saint John the Evangelist. In an extremely devout Spain, Luis de Morales counts himself as one of the painters most interested in the dramatic aspects of Christ's life, from his painful Passion journey to his death. This devotional subject, the Pieta, so frequent in Christian art, is renewed in Morales' art with enormous expressive force; it is not for nothing that the artist was nicknamed the Divine, and not only for the creation of a devotional iconography in line with the spirituality of the time, but also for the intrinsic intensity of his religious paintings. The depiction, to great dramatic effect, shows Christ, immediately after being deposed from the cross, gently welcomed into the arms of the Virgin. The intense maternal compassion is also evident in the expression on her face, which, always aware of her son's fate, exudes suffering, melancholy but also serene resignation. Christ, abandoned in his mother's embrace, shows an emaciated and sorrowful face, made even more ghostly by his half-open mouth. The tree of the cross looms over the figures, emphasised by an evocative dark, completely monochrome background, to which the three figures are contrasted with strong lighting. Evident in Morales' painting is the devotional slant typical of Counter-Reformation painting, accentuated by a style that recalls both Italian painting for its research and chiaroscuro effects, and Flemish and German painting for its strongly accentuated dramatic tones. The work shows a strong physical and psychological characterisation of the characters, rendered by the marked chiaroscuro effects and the plastic construction of the figures, also using a sfumato technique, which show the primary influence of Leonardo da Vinci, Raphael and Sebastiano del Piombo. On the other hand, his Flemish training is evident in the anatomical modelling and treatment of the folds of the Virgin's dress, which retain the sharpness of the Nordic painting tradition. We can mention, among the most beautiful versions similar to our composition: - Fig.1 Luis de Morales (c. 1520-1586), La Piedad, c. 1568, Óleo sobre tabla 72 x 50 cm.
Museo de Bellas Artes de Bilbao - Fig.2 Luis de Morales, La Piedad, c. 1560, Óleo sobre tabla 126 x 98 cm.
Real Academia de Bellas - Fig.3 Luis de Morales, La Piedad, 1565 - 1570, Oil on panel 42 x 30 cm.
Museo del Prado - Fig.4 Luis de Morales, Triptych of the Pietà St John and St Mary Magdalene...

Veduta Generale del Tempio della Sibilla, e Ponte della Cascata di Tivoli Image dimensions: 61x45 cm. From the series “Le antichità de’ contorni di Roma (...)” an artist's proof with...

Jean Pichore workshop, 1500-1541 Crucifixion Metal cut engraving printed on vellum with vintage hand coloring c. 1500-1541 Miniature (image) size: 4 3/4 x 3 1/8" Including decorated ...

View of Capri - Francesco D'Angiolo Italia 2004 - Oil on canvas cm. 60x80 Gold leaf gilded wooden frame available on request.

Early 20th Century Oil Painting Grand Canal Palazzos and Gondolas , Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondola alo...

Bernardino Detti (Pistoia, Italy, 1498 - 1572) Title: Face of Christ Medium: Oil on canvas Dimensions: without frame 41 x 32 cm - with frame 47 x 55.5 cm Antique box frame made of solid wood and walnut burl. Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

Portrait of Clemency is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge...

Artist proof, printed on contemporary filigree paper, large margins, representing an antique marble vase , whose details are described in the ending note . The piece is dedicated to ...

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop/circle The Allegory of Europe oil on canvas 102 x 76 cm. - with frame: 119 x 92 cm. The work, which can be placed ...

Escuela Española siglo XVIII. "San Simón". Titulado a mano en la parte superior. Óleo sobre tela. Medidas: 82 cm. x 68 cm.; 86cm. x 72 xm. (marco). Se trata de un óleo sobre tela rep...

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:...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

This charming gouache on paper painting, from the early 19th century, presents a detailed view of Trajan’s Column in Rome, a historically significant landmark dating back to ancient ...

High relief panel depicting 'Saint Barbara' Southern France, 16th-17th century Polychrome carved wood with traces of gilding 64 x 32 cm. (good condition, with minor missing and cra...

Disparate alegre - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 12 ...

Thomas Smith of Derby (1720-1767) View of Matlock High Tor, Derbyshire Oil on canvas Canvas Size 25 x 30 in Framed Size 32 x 37 in Provenance Private Collection, London Thomas Smit...

China ink and watercolor on paper. Conditions: Two cuts on the centre of the paper. Three holes on centre-right, botton-left and top-left of the paper. Worn on the top left of the ...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - La piece dite des cinq Saints, Year: 1875, Medium: Heliogravure, Size: 17.5 x 11.75 in. (44.45 x 29.85 cm), Pr...

Leonardo da Vinci, After by Amand Durand, Italian (1452 - 1519) - Trois Tetes de Chevaux, Year: circa 1878, Medium: Heliogravure, Size: 6 x 8.5 in. (15.24 x 21.59 cm), Printer: Am...

This colorful and detailed 17th century copperplate map by Frederick De Wit was published in Amsterdam between 1666 and 1690. It depicts the Caspian Se...

Rima (English, 20th century) *see notes below signed oil on board, unframed board: 31 x 24 inches provenance: UK collection The painting has some scuffs and scratches but is essentia...

Attributed to Charles-Nicolas Cochin the Younger (Paris, 1715 – 1790) Dancing Couple Circa 1765–1770 Red chalk on cream paper; verso in black and red chalk 34 × 21 cm Unsigned Pro...

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

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

A fine large and stunning Scottish Old Master portrait oil painting on canvas portrait in good condition which depicts Lady Eleanor Dundas in a white dress set against an open landsc...

Huge and very decorative castle painting. Antique oil painting. Probably 18th century. "Kings from all over the world in Bethlehem". Christian scene. Canvas relined. Big, heavy fr...

Pietro Antoniani (Milan circa 1740-1805) A view of Paesteum with Grand Tourists in the foreground Oil on canvas Painting Size 13 x 19 1/2 in Framed Size 17 x 24 in Provenance Sale,...

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...

19th century oil Devon coastal scene William Shayer Snr (Circle of) A very attractive oil on canvas of cockle gatherers on the Devon coast The painting depicts a busy scene with people gathering their cockles with horses/donkeys laden with baskets ready to take to market. The painting Bears signature, also inscribed and dated 1833 (lower right) The size overall is 95 x 130cm whilst the image is 64 x 104cm (25 x 40¾ in.) Housed in the original heavy gilt frame Provenance: The property of a lady and gentleman , removed from a Cheshire country house William Shayer (1787–1879) was an English landscape painter and figure painter who became prominent during the Victorian era. A self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

Veduta di Sepino is an original artwork realized in the XIX Century by Cirelli. Colored Lithograph on paper. On the lower left corner the writing "P. Mattei di dal vero" and, on ...

Los Ensacados - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 8 from ...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

This is an original 18th century hand-colored copper-plate engraving by Giovanni Volpato after a drawing by Camporesi. It was the frontispiece for volume one of the rare and valuable...

Nude Figures in Wooded Landscape French School, 17th century oil on wood panel, framed framed: 25.5 x 21.5 inches board: 20 x 15.5 inches provenance: private collection, France condi...

Johann Carl Loth (Munich, Germany, 1632 - Venice, Italy, 1698) Title: Saint Mark Medium: Oil on canvas Dimensions: without frame 65 × 72 cm - with frame 82.5 x 88 cm Expertise by Professor Dario Succi Publications: Lo studiolo...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

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...

Judith & Holophernel is an original engraving, realized by Jean-Pierre-Marie Jazet after a painting of Horace Vernet. In very good conditions. The artwork represents the key scene of the story of Judith and Holophernes. Horace Vernet (1789 -1863): The French painter of military and historical scenes Horace Vernet was born on 30 June 1789 in Paris at the Louvre, where his parents found refuge during the war. The artist mainly painted sports subjects and extensive battle scenes. Son and grandson of two well-known painters, Carle Vernet and Joseph Vernet, Horace developed a remarkable facility for working on a large scale making him one of the most important painters of military France. In favor of Napoleon Bonaparte, the painter specialized in glorifying the Napoleonic era with his art. During the restoration of the monarchy after 1815, his studio became a center of political intrigue, as well as a meeting place for sportsmen, artists and writers. One of his most famous paintings dates back to 1826, Battle of the Bridge of Arcole, and shows the young Napoleon grabbing a torn flag and leading his men across the bridge on November 17, 1796. After spending a period with the French army in Algiers (1833), Horace Vernet's works present elements of the Arab world. Later he also obtained commissions from Louis Philippe and Napoleon III to produce battle scene paintings...

Flowering Tree - Oil on Canvas cm.100x80 by Giovanni Bonetti, Italy, 2002 Undisputed artist of still life, Giovanni Bonetti reveals his originality and shrewd mastery in this precio...

View of Mausoleo of Cecilia Metella is an original etching realized by the italian artist Giovanni Battista Piranesi in 1773. Precoius roman edition. Complete title on the lower ma...