Old Masters Art

Etching on cream laid paper. 1/4 inch to 1/2 inch margins. In good condition with a band of minor discoloration along top and bottom sheet edge verso. One circular 1.5 inch- sized ar...

This rare drawing by Nattier is part of a set of preparatory studies executed in 1717 for one of the painter's first commissions, the painting commissioned by Tsar Peter I of Russia ...

Colonial School, Mexico, XVIII Century "San Francisco Javier" Oil on canvas 18 x 14 in.

Courtiers Party in the Park in 18th Century In the Taste of Nicolas Lancret (1690-1743) Oil on canvas Frame gilded with leaves Dim canvas : 73 X 59 cm Dim frame : 100 X 87 cm

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good condit...

Matthew Cook Vanitas III (Study) Charcoal & Chalk on Paper 10h x 8w in 25.40h x 20.32w cm FRAMED DIMENSIONS 16h x 14w x 1d in 40.64h x 35.56w x 2.54d cm MLC014 Bio: Matthew Cook ...

A fine oil painting by the renowned artist John Sanderson Wells " Returning from a Country Ride" This painting captures beautifully the image o...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Adam et Eve Chasses du Paradis, Year: 1875, Medium: Heliogravure, Size: 8.25 x 6 in. (20.96 x 15.24 cm), Print...

Provenance: Unidentified collector’s mark “D.G.R,” lower right (Lugt 757b) Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA This impressive drawing of the Assumption of the Virgin is the work of the Genoese artist Giovanni Battista Paggi. The son of a nobleman, Paggi received a humanist education and was a self-taught artist. According to Paggi’s first biographer, Raffaele Soprani, it was only after encountering Luca...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

Artist: Lucas van Leyden, After by Amand Durand, Dutch (1494 - 1533) - Adam et Eve, Year: 1873, Medium: Heliogravure, Size: 8 x 10 in. (20.32 x 25.4 cm), Printer: Amand Durand, Des...

Antonio Gianlisi II, known as Il Cremonese (Rizzolo San Giorgio, 1677 - Cremona, 1727) Still life with carpet, basket of grapes and figs Oil on canvas 63 x 75 cm - Framed 80 x ...

CHILD - Pastel on paper cm.51x41 signed lower right by Alfonso Grassi, Italy. Wooden frame with passeportout cm.94x73

Flowers - Carlo De Tommasi Italia 2010 - Oil on canvas cm. 80x60 Gold leaf gilded wooden frame cm.106x86 This wonderful painting inspired by Jean Baptiste Monnoyer, shows a vase with...

Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

Oil on panel measuring 21" x 24.5," including the frame. The painting is signed in the lower right corner, but we cannot attribute the signature. Probably dating from the late 19th ...

la obra va firmada en la parte inferior "roman ribera" esta obra és de aproximadamente ultimo tercio del siglo xix el estado de la obra es bueno la obra se presenta enmarcada con ...

Print on paper prized antique print "View of Naples" by Friedrich Bernhard Werner.

Graphite, ink wash and watercolor on handmade laid paper with a large, indistinguishable ovoid watermark with a bunch of grapes, 8 7/16 x 12 5/8 inches (225 x 320 mm), signed in brown ink in the lower left. With the Henry Scipio Reitlinger oval stamp in brown ink on the verso (Lugt 2274a). The condition of the image and paper is consistent with age, there is minor toning on the recto and some attenuation of the green pigment. The drawing is laid down to an 18th century laid paper support and has a small pencil notation in the lower right corner (modern), and scattered notations in pencil on the verso of the support (also modern, perhaps auction/accession notes). On the paper support is an ink drawing in red and black of what appears to be the floor plan for the wing of a large building. The drawing is top-up, adhered facing the verso of the drawing. The architectural drawing on the support is visible through to the recto of the composition when the sheets are viewed through raking light. There is a small area of stipple point spotting in brown ink on the verso of the support. Examination under black light shows no indication of repairs or additions, expert or otherwise. Provenance: Henry Scipio Reitlinger was born in either 1882 or 1885, attended Kings College...

Rembrandt van Rijn 1606-1669 Dutch Jan Lutma, The Goldsmith Etching, engraving, and drypoint on paper New Hollstein’s second state of five Signed and dated “Rembrandt / F. 1656” (...

Giovanni Paolo Castelli known as Spadino (Rome, Italy, 1659 - 1730) Title: Still life Medium: Oil on canvas Dimensions: without frame 81 x 31 ...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

Onofrio Loth (Naples, Italy, 1665 – 1717) Title: Still life Medium: Oil on canvas Dimensions: without frame 37.5 x 47.5 cm – with frame 50 x 57 cm Original ebonised wooden frame wit...

Giovanni Boccaccio, After by Amand Durand, Italian (1313 - 1375) - Le Roi et l'Homme Mort, Year: Printed 1878, Medium: Heliogravure, Size: 9 x 7 in. (22.86 x 17.78 cm), Printer: Am...

Paul Emile Perboyre 1826-1914 French Calèche au Bois de Boulogne, Circa 1880 Oil on panel Signed lower right Panel: 12 5/8" high x 18 1/8" wide Fame: 19...

Carle Vernet (French, 1758 – 1836) ‘La Marchande de Coco’; and ‘La Tour de Babbe d’un Charbonnier’ Ink, watercolour on paper Both signed C Vernet and Carle Vernet (lower left and lower right respectively) 12.1/4 x 9 in. (31 x 22.8 cm.) A pair Vernet was born in Bordeaux. At the age of five, he showed an extraordinary passion for drawing horses, but went through the regular academical course as a pupil of his father and of Nicolas-Bernard Lépicié. Strangely, after winning the grand prix (1782), he seemed to lose interest in the profession, and his father had to recall him back from Rome to France to prevent him from entering a monastery. In his Triumph of Aemilius Paulus, he broke with tradition and drew the horse with the forms he had learnt from nature in stables and riding-schools. His hunting-pieces, races, landscapes, and work as a lithographer were also very popular. Carle's sister was executed by the guillotine during the Revolution. After this, he gave up art. When he again began to produce under the French Directory (1795–1799), his style had changed radically. He started drawing in minute detail battles and campaigns to glorify Napoleon. His drawings of Napoleon...

Etching on cream laid paper, full margins. Trimmed at the plate mark. Scattered light caramel colored areas of discoloration in the sheet corners, light skinning on the verso at the ...

This etching, representing Glaucus and Scylla, is an 18th century copy after Salvator Rosa (ca. 1661). Signed lower right “S.Rosa” The state of preservation is very good. Foxings d...

Classical Still Life of Flowers by Thomas Webster, British contemporary artist late 20th century signed oil on board, unframed board: 30 x 18 inches provenance: private collection, U...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

"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 ...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

Parrot, Snake, Lizard and Ducks, 17th Century Genoese School Fine Large 17th Century Italian Old Master from the Genoese School of a parrot, ducks a lizard and snake, oil on canva...

This 18th-century painting, attributed to Christian Wilhelm Ernst Dietrich (1712–1774), depicts a rustic inn interior, a subject frequently explored by Dutch and German genre painter...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

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...

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" 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 Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

Antique European oil on panel, framed framed: 9 x 7 inches board: 7 x 5inches private collection, France the painting is in overall very good and sound condition

Eugene Delacroix, After by Eugene LeRoux, French (1798 - 1863) - Marphise (Tire de l'Arioste), Year: circa 1850, Medium: Lithograph, Image Size: 10.5 x 13 inches, Size: 19.25 x 2...

Still life - Oil on canvas cm.100x150, Antonio Jannone, Italy, 2003. Frame available on request.

Portrait of Arab Man in Turban French artist, 18th century oil on canvas, framed Framed: 21 x 16.5 inches Canvas : 18.5 x 14 inches Provenance: private collection, France Condition: ...

Esta obra es una de las escenas de la Misericordia, en concreto la de "Visitar a los presos" La obra aparentemente no va firmada Se presenta tal cual sin enmarcar El estado de la ...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Etching on thin, cream laid paper 4 x 3 5/8 inches (100 x 90 mm), with narrow margins, trimmed inside the platemark. Adhesive residue at the top right and left corners, and archival ...

A good antique Dutch/Flemish oil on panel painting, after Cornelis van Poelenburgh, circa 1850. The painting portrays a number of nude and par...

La obra va sin firmar La obra se presenta enmarcada Medidas obra: 60 x 46 cm. Medidas obra: 76 x 64 cm. Estado aceptable aunque si comentar que la tela está reentelada y en la pa...

This a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Reliquiae Theartri Pompejani" (Remains of the Theatre of Pompey) from "Il Campo Marzio dell'Antica Roma" (The Campus Martius of Ancient Rome), published in Rome in 1762. It depicts the remains of an ancient theater in Rome with exposed seating and an arch still standing in the foreground. An inset shows an architectural side view of a portion of the structure. The etching is presented in an antiqued silver-colored wood frame with a cream-colored French mat. The frame measures 24" x 20.75" x 1.25". The print is in excellent condition. The Theatre of Pompey (Latin: Theatrum Pompeii, Italian: Teatro di Pompeo) was a structure in Ancient Rome built during the latter part of the Roman Republican era by Pompey the Great...

Giovanni Giacomo Van Lint (Rome 1723 - 1790) View of the Roman Forum Oil on canvas 53.5 x 68 cm in frame 60 x 75 cm Attribution certificate by Prof. Giancarlo Sestieri (Rome ...

Giovanni Francesco Barbieri Guercino Italian 1591-1666 Portrait of a Merchant Sanguine on laid paper Image size: 12 ¾ x 16 inches (32 x 40....

Flowers - Oil on canvas cm.70x90, Luigi Degli Espositi, Italy, 2002 Gold leaf gilded wooden frame available on request

William Louis Sonntag Sr. was an American Landscape painter and a member of the Hudson River School movement. He was an Academician of the National Academy of Design. His work is in ...

This is an original 18th century hand-colored map entitled "An Accurate Chart of The Mediterranean and Adriatic Sea's; with the Archipelago & Part of the Black Sea. Exhibiting all th...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - La Vierge avec l'Enfant Jesus Emmaillotte, Year: 1873, Medium: Heliogravure on laid paper, Size: 6 x 4 in. (15.24 x ...

The Council says; Forget about where you come from As long as you’re a black man You’re an African if you come from Clarendon, Portland, Westmoreland… Don’t mind your nationality Yo...

Provenance: Robert Hollberton, Antigua, ca. 1841 Private Collection, New York The present painting depicts Old St. John’s Cathedral on the island of Antigua. The church was erected in the 1720s on the designs of the architect Robert Cullen. It measured 130 feet by 50 feet with north and south porches 23 x 20 ½ feet. The tower, 50 feet high with its cupola, was added in 1789. The church was elevated to the status of a cathedral, but disaster struck in the form of an earthquake that destroyed the building on 8 February 1843. A memorandum of that date relates the event: “On Wednesday, 8th February, 1843, this island was visited by a most terrific and destructive earthquake. At twenty minutes before eleven o’clock in the forenoon, while the bell was ringing for prayers, and the venerable Robert Holberton was in the vestry-room, awaiting the arrival of persons to have their marriage solemnized, before the commencement of the morning service, the whole edifice, from one end to the other, was suddenly and violently agitated. Every one within the church, after the first shock, was compelled to escape for his life. The tower was rent from the top to the bottom; the north dial of the clock precipitated to the ground with a dreadful crash; the east parapet wall of the tower thrown upon the roof of the church; almost the whole of the north-west wall by the north gallery fell out in a mass; the north-east wall was protruded beyond the perpendicular; the altar-piece, the public monument erected to the memory of lord Lavington, and the private monuments, hearing the names of Kelsick, Warner, Otley, and Atkinson, fell down piecemeal inside; a large portion of the top of the east wall fell, and the whole of the south-east wall was precipitated into the churchyard, carrying along with it two of the cast-iron windows, while the other six remained projecting from the walls in which they had been originally inserted; a large pile of heavy cut stones and masses of brick fell down at the south and at the north doors; seven of the large frontpipes of the organ were thrown out by the violence of the shock, and many of the metal and wooden pipes within displaced; the massive basin of the font was tossed from the pedestal on which it rested, and pitched upon the pavement beneath uninjured. Thus, within the space of three minutes, this church was reduced to a pile of crumbling ruins; the walls that were left standing being rent in every part, the main roof only remaining sound, being supported by the hard wood pillars.” The entrance from the southern side into the cathedral, which was erected in 1789, included two imposing statues, one of Saint John the Divine and the other of Saint John the Baptist in flowing robes. It is said that these statues were confiscated by the British Navy from the French ship HMS Temple in Martinique waters in 1756 during the Seven Years’ War and moved to the church. The statues are still in situ and can be seen today, much as they appeared in Bisbee’s painting, but with the new cathedral in the background (Fig. 1). Little is known of the career of Ezra Bisbee. He was born in Sag Harbor, New York in 1808 and appears to have had a career as a political cartoonist and a printmaker. His handsome Portrait of President Andrew Jackson is dated 1833, and several political lithographs...