Old Masters Art

Artist/ School: Italian School, 19th century Title: Classical nude draped in robes with dancing dog. The work looks as though it might have been a ceiling...

Romantic Sunset Landsca English School, early 1800's period oil on wood panel, framed in antique gilt frame framed: 27 x 31.5 inches panel: 16 x 21.5 inches provenance: private colle...

Capital letter for the Antiquities of Herculaneum Exposed,  etching from the end of the 18th century, made by Various Old Masters. In very good condition, except for some stains alo...

This is a framed 16th century hand-colored copperplate map of northern Italy entitled "Veronae Urbis Territorium a Bernardo Bragnolo Descriptium" by Abraham Ortelius from his atlas "Theatrum Orbis Terrarum", which was the first modern atlas of the world, with the first volume published in 1570. This map was part of a subsequent volume, published in Antwerp in 1584. It was based on an earlier map by Bernardo Brognoli. This beautiful map of northern Italy is focussed on Verona and its environs, including Mantua. Lake Garda and the South Tyrol mountains are prominently depicted. There is a very large striking cartouche in the upper left and a decorative distance scale in the lower right. This striking hand-colored map of northern Italy is presented in a gold-colored wood frame and an olive green-colored mat. It is glazed with UV conservation glass. All mounting materials used are archival. The frame measures 21.5" high by 28" wide by 0.75" deep. There is a central vertical fold, as issued, with slight separation of the lower portion of the fold. There are faint spots in the upper and right margins, but the map is otherwise in very good condition. Abraham Ortelius (also known as Ortels, Orthellius, and Wortels) (1527-1598) was a Dutch cartographer, geographer, and cosmographer. He began his career as a map colorist. In 1547 he entered the Antwerp guild of St Luke as an "illuminator of maps". He had an affinity for business from an early age and most of his journeys before 1560, were for business. He was a dealer in antiques, coins, maps, and books. 
His business income allowed him to acquire an extensive collection of medals, coins, and antiques, as well as a large library of books...

Attributed to Antoine Felix Boisselier (19th Century) French 'Classical figures in a bed chamber Medium: oil on canvas, with inscription verso Size of pain...

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

'Venice by Moonlight' by Henry Pether (1800-1880). The painting – which depicts an extensive nocturnal view of the Grand Canal with the Palazzo Pisani Gritti to the left and the Dor...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...

‘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...

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

English 19th century portrait of a White / Grey hunter in a stable. Charles Towne was born in Wigan in 1763. He was trained as a coach painter, and by ...

Rembrandt van Rijn 1606-1669 Dutch The Death of the Virgin Etching and drypoint on laid paper State II of V Signed and dated "Rembrandt f. 1639" (lower left) In The Death of the ...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

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...

The Madonna & Christ Child Italian, 17th century oil on wood panel, unframed board: 9.5 x 7.5 inches provenance: private collection, Paris condition: very good and sound condition fo...

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 ...

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...

Charles Towne (1763-1840) A bay hunter in a landscape signed and dated 'Charles Towne Pinxit 1816' lower left Oil on canvas Painting Size - 20 x 26 Framed Size - 25 x 31 in Provena...

Country scene - Oil on canvas cm.80x120, Giovanni Santaniello, Italy 2002 Gold gilded wooden frame available on request The painting by Giovanni Santaniello depicts a scene of return...

Constance-Marie Charpentier (1767–1849) Academy Drawing of a Man Black and white chalk on paper 56 x 43 cm Provenance: Private collection Constance-Marie Charpentier, a student of Jacques-Louis David, distinguished herself in late 18th- and early 19th-century Paris as a highly skilled portraitist. Despite the obstacles faced by female artists of her time, Charpentier gained recognition and was even awarded a gold medal at the 1814 Salon—a rare and significant honor. This work, a male nude academy...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

Perseo and Andromeda - Oil on canvas cm.120x80, Eugenio De Blasi, Italy, 2005. Gold gilded wooden frame available on request This is his reinterpretation of a large ancient painting...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Jesus at the House of Mary & Martha Italian artist, 1600's oil on canvas, unframed Canvas: 32.5 x 56.5 inches Provenance: Private collection, England Condition: for a work of such mo...

Work on canvas Black wooden frame 71 x 91 x 3 cm

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...

Outstanding English late 18th / early 19th century marine scene by one of Britain's best known and sought after painters. William (or Wiliam) Anderson (1757 – 27 May 1837) was a Scottish artist specializing in maritime and patriotic themes. He was well-regarded for his detailed and accurate portraits of ships under sail, exhibiting his works annually in London between 1787 and 1811 and then occasionally until 1834. Anderson influenced other artists, notably John Ward and others of the Hull school. Anderson's early life is obscure, but he is known to have trained as a shipwright before moving to London to become a maritime painter when he was about 30. His training served him well as a painter, providing "a practical nautical knowledge" of his subjects. He earned a reputation for "accuracy and refinement of detail" and was admired for his bright, clear colours. He worked in both oils and watercolours. He based his style on that of well-known Dutch maritime...

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...

A very interesting set of five mid-20th-century Italian oils on copper. All five are classical landscape subjects and are signed Roger, though we don't know which artist with the n...

Girl with kitten - Giulio Di Sotto Italia 2008 - Oil on canvas cm. 60x50 Frame available on request from our workshop. This painting is Giulio Di Sotto’s personal reinterpretation of the 19th century French painter Jules Frédéric Ballavoine...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

La obra no va firmada El estado de conservación de la obra se puede ver, presenta varios repintes y restauraciones Se presenta enmarcada la obra Medidas de la obra: 50 cm. de altu...

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

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

The Winter Landscape Dutch School, 19th century oil painting on canvas, framed framed: 22 x 28 inches canvas: 16.5 x 23 inches provenance: private collection, UK condition: very goo...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...

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...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

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...

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...

Artist: Wilfrid Constant Beauquesne, French (1840 - 1913) Title: Men Fraternizing with the Ladies Year: c. 1890 Medium: Oil on Canvas, signed l.l. Size: 21.5 x 26 in. (54.61 x 66.04 ...

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 ...

Pair of scagliola sculptures - Roman figures. Italy, 19th century. 51 x 26 x h 118 cm (left) - 41 x 28 x h 118 cm (right). Entirely in scagliola. Condition report: In good general...

This lovely 17th century Old Master floral oil painting is attributed to the circle of noted Franco Flemish artist Jean-Baptiste Monnoyer. Painted circa 1670 it is a still life of a ...

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...

A wonderfully detailed interior genre oil painting by Flemish artist Louis Tielemans (1826-1856). Tielemans was born in Anvers, and became known for his active genre scenes, emulatin...

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...

Italian painter (18th century) - Saint John Nepomuk 65 x 50 cm without frame, 78 x 64 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (not signed). Conditi...

Muy interesante ÓLEO SOBRE CRISTAL, representando a una Virgen con Niño, de finales del siglo XVIII principios del XIX. Escuela colonial, va con un fino marco de madera dorada al oro...

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

Italian painter (16th century) - Christ mocked. 18 x 28 cm. Antique oil painting on canvas glued on board, without frame (not signed). Condition report: Good state of conservation...

This charming German miniature painting, created of oil on copper, depicts a tranquil outing on a boat. A lavishly dressed couple stands together, while a seated man rows the boat. T...

Heracles in Combat With Centaur from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen after Camillus Paderni in the 18th C...

Dutch painter (18th-19th century) - The spanking. 60 x 99 cm without frame, 67 x 106 cm with frame. Antique oil painting on panel, without frame (not signed). Condition report: Wo...

English School, early 20th century signed oil painting on canvas, unframed canvas: 17 x 24 inches provenance: private collection, Eng;and condition: good and sound condition, minor ...

Artist: English School, early 1800's, circle of John Constable (British 1776-1837) Title: The Woodland Path Medium: oil on canvas, framed, unsigned Size: 12 x 22 inches Picture: 9 x 18 inches Provence: from a private collection in East Anglia...

French School of the 18th Century Portrait of a gentleman Pastel on paper 25 x 18 cm Framed : 49 x 32 cm The mounting of this work is marked "Attribué à Saint Aubin", which means t...

This rather special Italian Old Master religious portrait oil painting is attributed to a follower of Giovanni Battista Salvi, or Sassoferrato as he is better known. Painted circa 17...