Old Masters Art

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

This enchanting 18th-century French fête galante captures the elegance and joy of aristocratic leisure, set amidst a lush garden adorned with flowers. A scene of refined celebration,...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

French painter of the late 18th-early 19th century Leda and the Swan (Literary source: Metamorphoses by Ovid, Book VI) Oil on canvas 95 x 126 cm Framed 109 x 142 cm This c...

A Superb pair of oval portraits with full provenance .Portrait of John Wood Esq of Hollin Hall, Yorkshire; Portrait of Francis Wood. Circa 1710. Oils on canvas:29 x 24 in. Frame: 37...

This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Lod...

Madonna with Child and Red Drapery, Flemish School, Oil on Oak Panel, 17th Century Flemish School, 17th century Technique: oil on oak panel with 4 crossbars Dimensions: Height: 43...

Zeno Veronese (or Zeno from Verona) (Verona, 1484 - Salò (Bs) after 1542-before 1554) San Sebastiano and San Cristoforo Oils on canvases, 173 x 55 cm This pendant of works h...

Aeneas and Dido Attributed to Pseudo-Caroselli (Rome, active c. 1630/1650) Oil on canvas 148 × 93 cm. framed 162 × 107 cm. The episode depicted in the superb canvas illustra...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence. This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art. This magnificent etching is presented in a brown-colored wood frame and a tan French...

French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...

Attributed to Evert Collier (1642-1708) A vanitas still life Oil on canvas Canvas Size 30 x 25 in Framed Size 29 x 34 in Evert Collier (a...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) School of Portrait of a gentleman in armour: Joseph Jean Raymond de Lasbordes, Officer of the “Régiment des Landes” (infantry regime...

Madonna and Child Workshop of Andrea del Sarto, pseudonym of Andrea d'Agnolo di Francesco (Florence 1486 - 1530) Attributable to Jacopo di Giovanni di Francesco, known as Jacone (...

This superb large British Old Master oil painting is attributed to John Inigo Richards. Painted circa 1770 the composition is a view from before the water's edge across a lake to cas...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 17 x 21 inches canvas: 14 x 18 inches provenance: private collec...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

Attributed to Joseph Parrocel (1646–1704) Study of a Horseman Charging His Opponent Black chalk on cream paper 20 × 29 cm France, late 17th century Provenance: – William Bateson ...

This is a second state impression from three states.

Lorenzo Pasinelli (Bologna, 1629 - 1700) Sermon of Saint John the Baptist Circa 1650. Oil on canvas 115 x 154 cm With frame 136 x 174 cm Provenance Milan, Porro 6 June 2006 ...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

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 ...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

Thomas Stringer (1722-1790) A groom with a saddled bay hunter and dogs, in an extensive landscape Dated 1754 lower left Oil on canvas Unframed size 25 x 36 in Framed size 31 x 42 in ...

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra con un marco del siglo xix en madera estucada y policromada (el marco presenta algún leve descolche) El es...

Joshua Shaw (Billingborough 1776-1860 New Jersey) An open landscape with cattle watering signed and dated 'J. Shaw. 1810' lower right Oil on canvas Canvas Size 36 x 51 in Framed Siz...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco bastante actual El estado de la obra es aceptable, solo comentar que la ...

JOHANNES JANSSON (1588 - 1664) PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2 A nice example of one of the earliest maps of Peru. From the ...

John Nost Sartorius (London 1759-1828) A Huntsman with Dogs and Pony Signed 'JN Sartorius pin.' lower right Oil on canvas Canvas Size 26 3/4 x 37 in Framed Size - 31 x 41 in John No...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

‘St. James’ Day’ by Richard Morton Paye (1750-1820). This large and important 18th century oil on canvas depicts a diverse crowd of Londoners at an oyster stand on a summer’s eveni...

This large superb British Old Master horse portrait oil painting is by noted artist John Boultbee. Painted circa 1790, the composition is a beautif...

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...

Saint Francis Receiving the Stigmata Oil on copper. Flemish school. 17th century Dimensions: with frame 19 cm x 16 cm, without frame 16 cm x 13 cm The scene of Saint Francis ...

Saint Michael Archangel Guido Reni (Bologna 1575 - 1642) Workshop/Follower of 17th-18th century Oil on canvas (104 x 68 cm. - In frame 109 x 68 cm.) This high quality painting is b...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

This drawing by Johann Rudolf Feyerabend, known as Lelong, is a finely executed still life that captures a rustic yet elegant composition. The detailed rendering of objects—such as t...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

This exquisite portrait, presented by Titan Fine Art, depicts King William III, when he was Prince of Orange. The military-minded William III is portrayed as the archetypal commande...

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 ...

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their sails billowing and banners and flags blowing in the wind. The sea is also choppy and clouds race over head. It is an ambitious, busy nautical scene and Storck has perfectly captured the energy and movement of the ships and smaller vessels. This is an excellent example of a 17th century Dutch Old Master oil painting. Provenance: Part of a private collection of Flemish & European paintings. Koller Auctions in Switzerland in 2011. Bonhams 2020. Condition. Oil on canvas, 25 inches by 24 inches and in good condition. Frame. Housed in an ornate 23 carat gilt carved Lely period frame with name plate, 32 inches by 31 inches and in excellent condition. Abraham Storck (1644-1708) was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman. Storck was baptized in the Noorderkerk, a Protestant church in the Jordaan. His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting. Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour. Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen...

Bernardo Strozzi, also known as “Il Cappuccino” and “il Prete Genovese”, (Genoa, Italy, 1581 – Venice, Italy, 1644) Title: Portrait of a man with white collar Medium: Oil on canvas D...

This exquisite early 19th-century English portrait of a gun dog or foxhound by Thomas Weaver is a masterpiece of sporting art that offers both historical...

This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999. The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further. The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work. The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson. Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented. Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre. Information: Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

Maestro della Flagellazione di Cesena, active in the second decade of the 17th century Title: The morra players Year: 1620 ca. Medium: Oil on canvas Dimensions: without frame 115 x ...

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...