Old Masters Art

Venetian School, early 17th century Portrait of a knight in armour The inscription at the top, ‘MAR...DIT...VICO’, is only partly legible Oil on canvas. 81 x 71 cm. - Framed: ...

Christ and the Samaritan woman at the well Attributable to Ludovico Pozzoserrato (Antwerp circa 1550 - Treviso 1605) Oil on the table 37 x 27 cm., In ...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

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...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

Attributed to Francesco PENNI (1488 – 1528) Study for a fresco Pen and brown ink, brown wash heightened with white on prepared paper 14 x 12 cm Unsigned On the mount, handwriting ...

Gaspare Diziani (Belluno 1689 - Venice 1767) Portrait of a Young Princess (Salome?) Oil on canvas 42 x 33 cm Framed 70 x 63 cm A charming portrait of a beautiful young woman with ...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

James Seymour (1702-1752) A Standing Leap at a Gate Mezzotint with hand colouring Image size 10 x 14 in Framed size 16 1/2 x 20 in James Seymour was an English artist renowned for h...

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...

School of Antonio Allegri, known as Correggio (Correggio c. 1489 - 1534) Attributable to Pomponio Allegri (Correggio, 1522 - Parma, 1593) Madonna and Child, Two Angels and John the B...

Gaspard Dughet, called Gaspard Poussin (Rome 1615 - 1675) - attributable to Wooded landscape of the Roman countryside with the Archangel Raphael and Tobiolo oil painting on canvas second half of the 17th century (cm.) 75 x 98, with frame 91 x 115 On the back old label inscribed "Monte dei Paschi di Siena" The painting has characters clearly linked to the Roman culture of the seventeenth century and, in particular, to the works of Gaspard Dughet, an author who was able to achieve surprising results in describing the Lazio countryside with a unique grace and sensitivity. Brother-in-law of Nicolas Poussin, of whom he was a pupil, Dughet is to be considered among the most important landscape painters of the Roman Baroque, highly sought after and celebrated by the aristocracy, a reference model for the artists of the following generation, such as Crescenzo Onofri, Jan Frans van Bloemen and Andrea Locatelli...

Letter S is an Etching realized by Luigi Vanvitelli. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercolano Esposte”)...

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 ...

Lombard School of the 1500s Christ at the Column Oil on panel 24 x 21 cm - Framed 42 x 39 cm The painting, rich in pathos and strong spirituality, depicts a moment from the P...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Francesco Fontebasso (Venice 1709 - Venice 1769) Alexander the Great grants clemency to the Persians Oil on canvas 108 x 153 cm. In frame 120 x 164 cm. Fascinating for its interest...

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

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

George Romney (1734-1802) Portrait of a Gentleman, traditionally identified as Edward Addison, Esq., c.1780s Oil on canvas In a period carved and gilded swept frame 76.3 x 63.2 cm.; ...

Jacob Ferdinand Voet (Antwerp 1639 - Paris 1689) Atelier Portrait of the Young Ortensia Mancini, Duchess of La Meilleraye (Rome 1646 - Chelsea 1699) Oil on canvas 75 x 61 cm. - exquisite gilded and lacquered wooden double frame 105 x 91 cm. The beautiful painting depicting the young and attractive Duchess Ortensia Mancini is part of the refined portraiture of Jacob Ferdinand Voet (Antwerp 1639 - Paris 1689). Of Flemish origin, the painter achieved great success with the aristocratic families of Rome - where he stayed from 1663 to 1679 - thanks to the famous series of portraits commissioned by Cardinal Flavio Chigi, depicting the most enchanting women of the time, and now housed in the Palazzo Chigi in Ariccia. The paintings became so popular that the artist was repeatedly asked to reproduce replicas and similar versions of them: the 'cabinet des dames' was thus one of the Roman fashions of the 17th century, justifying the large number of female portraits attributable to his workshop that gravitated on the market. Voet flaunted in his portraits a peculiar softness and grace in the rendering of the complexions, a subtle voluptuousness in the description of the lips, entrusted to small brushstrokes of red, a sense of calm fixity in the pose, all characteristics that are immediately reflected in the work under examination. Our young effigy, Hortense Mancini...

Travellers in a Country Landscape circle of Jacques d'Arthois (Flemish 1613-1686) oil on canvas, framed frame: 13.5 x 18.5 inches canvas: 11 x 16 inches provenance: private collectio...

Pen and sepia ink and wash on vellum, 8 7/8 x 10 1/2 inches (225 x 267 mm). In very good condition with some modern notations in pencil on the verso, minor cockling, and a 1-inch hor...

Francesco Noletti known as the Maltese (Malta 1611-Rome 1654) Workshop/circle of Still life with musical instruments, toys, armour, textiles and precious objects Oil on canvas (52 x 78 cm. - in frame 71 x 102) This painting, of beautiful scenic effect, depicts a still life composed of a rich display of precious objects, arranged with an apparent disorder, one part on a table and the other on the floor, all theatrically behind a hanging drape from which tassels swing. Among the objects, our author has reproduced we can see parts of a parade armour with gold borders, jugs and plates...

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...

Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...

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...

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...

Portrait of two young girls in a wooded landscape, standing full-length, one attaching a red collar on a seated white whippet and the other holding her pet black and white rabbit. Ci...

Anthoon van Dyck (Antwerp 1599 - London 1641) workshop Christ Carrying the Cross - 17th century Oil on canvas (120 x 94 cm - framed 140 x 112 cm). This remarkable canvas, depic...

This fantastic Flemish 17th century Old Master oil painting is by Thomas Van Apshoven. It was painted circa 1650 and depicts a village with figures outside a tavern, eating, drinking and dancing. Beyond are more dwellings, villagers and animals, all under a blue summer's sky. The detail, brushwork and vibrant colouring are superb. This is an excellent example of Apshoven's work and a typical subject he loved to paint. Provenance. Leominster estate. Wax stamp verso. Condition. Oil on panel, 22 inches by 17 inches and in good condition. Frame. Housed In beautiful gilt frame, 30 inches by 25 inches and in good condition. Thomas van Apshoven (1622– 1664) was a Flemish painter known for his landscapes with peasant scenes and genre scenes in interiors. His genre scenes depict village festivals, the interiors of taverns, village scenes or landscapes with peasants engaged in various activities, singeries, guardroom scenes and laboratories of alchemists. Some still lifes have also been attributed to him. His themes and style are close to that of David Teniers the Younger. He was born on 30 November 1622 in Antwerp as the eldest son of Ferdinand van Apshoven the Elder and Leonora Wijns. His father was a painter who had studied with Adam van Noort and had become a master of the Antwerp Guild of Saint Luke in 1596. No paintings by his father are known. His younger brother Ferdinand van Apshoven the Younger became also a successful painter. Thomas studied under his father. Some sources state that he became a pupil of the prominent genre painter David Teniers the Younger. It is more likely, however, that he was an imitator of Teniers. He was registered as a 'wijnmeester' [son of a master] in the Guild of St. Luke of Antwerp in the guild year 1645–1646. He married Barbara Janssens on 22 March 1645. The couple had four children. The godfathers of the children included the painters Victor Wolfvoet...

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...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm. in a small temple frame 75 x 55 cm This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

Lombard painter of the 17th century Portrait of a Knight in Armour Oil on canvas 81 x 70 cm./ Framed 93 x 82 A handsome gentleman in armour, immortalised in an authoritative and pr...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

The workshop of Guido Reni (Bologna, 1575 - Bologna, 1642) The Virgin at Prayer (or Mater dolorosa) Oil on canvas 77 x 64 cm, framed 97 x 83 cm. The Madonna of our canvas is depict...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Three Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All three works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". All three, "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" have an unidentified watermark in the center of their sheets resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

This superb Dutch Old Master oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 during the Dutch Golden Age the composition depicts a number of figures and ani...

Pen and brownish black ink on grayish-cream laid paper, 6 1/2 x 8 inches (165 x 175 mm), irregular hexagonal sheet with margins. Some archival repairs along the top sheet edge, scatt...

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

Giovanni Ghisolfi (Milan 1623 - 1683) Architectural capriccio with ruins of an Ionic temple Oil painting on canvas 73 x 87 cm., within a gilded wooden frame 87 x 100 cm. This quali...

Seventeenth Century Old Master Biblical themed Oil Painting on Panel of Joseph recounting his Dream. A Follower of Rembrandt Harmensz Van Rijn 1606 - 1669. This painting follows a ...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

Florentine painter, 17th-18th century Equestrian portrait of Pietro Strozzi (Florence, 1511 - Thionville, 1558) Oil on canvas 79 x 115 cm. - Framed cm. 92 x 127 A valiant knight, p...

Heliogravure on cream laid paper, 3 1/4 x 4 1/4 inches (80 x118 mm), thread margins. In good condition with a soft vertical crease and minor uniform toning. Printed early 19th centur...

Guido Reni (Bologna 1575 - 1642) Workshop of Probably Gian Domenico Cerrini, the Cavalier Perugino (Perugia 1609 - Rome 1681) Saint Catherine of Alexandria Oil on canvas 65 x 5...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame 53 x 44 cm. It is easy to identify the sitters of this charming pair of portraits in the rulers of France, namely Louis XV of Bourbon, who ascended the throne in 1715 at the age of just thirteen and was nicknamed the 'Beloved', and Maria Leszczyńska, Queen Consort of France and Navarre and daughter of the King of Poland Stanislaus I. The queen is depicted in a three-quarter-length figure, her face smiling and turned towards the spectator. She wears a wig in shades of grey with her hair gathered around the nape of her neck and a diadem on her head, and pendants on her ears. She wears a dress with a wide neckline made of red velvet, brocaded with gold threads, with rich lace sleeves, and a bodice adorned with a jewelled bodice of diamonds and pearls. On the shoulders rests a blue velvet mantle embroidered with the heraldic...

Peintre actif à Rome au XVIe siècle - entourage de Scipione Pulzone (Gaeta 1550 - Rome 1598) La Pietà (Christ mort soutenu par la Madone) huile sur t...

Diogenes with his lantern looking for an honest man Studio of Pieter Van Mol (Antwerp 1599 – Paris 1650) Paris, mid-17th century Oil on canvas, h. 44.5 ...

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...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

Diana The Huntress and her Cherubs Northern European artist, circa 1680's period oil on canvas, unframed canvas: 20 x 60.5 inches provenance: private collection, UK condition: some p...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

Unknown Artist (Dutch School, late 18th century) Pastoral Scene with Goatherds, ca. 1780–1800 Oil on canvas In this lively pastoral composition, a group of figures reclines in rusti...

Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century. Signed on the plate. Good conditions with some folding and foxi...

The Resurrection of Christ Follower of Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576)   Venetian school of the late 16th/early 17th century Oil on canvas 108 x 78 cm. - Framed 129 x 99 cm. This jewel of the Venetian school, a work executed between the 16th and 17th centuries by a Venetian artist, illustrates the episode of the Resurrection of Christ: as reported in the Gospel of Matthew (Matthew 28:1-7) the event is accompanied by an explosion of light and glow, with the figure of Christ rising into the sky. Christ's face, serene and victorious, looks up towards the Light and the Infinite, in contrast to his majestic figure, here constructed with the appearance of a classical sculpture, contrasted by an intensely luminous background. The Risen One firmly holds in His hand the banner (white with a red cross) of the Resurrection, also known as the flag of St. George, which iconographically represents His victory over death, while raising His right hand in a blessing act. With his feet he crushes a snake and a skull, a sign of Christ's triumph over sin and death. The painting belongs to the Venetian school and presents clear reminiscences with the works of Titian Vecellio...

Rest on the flight into Egypt is an etching by Simone Cantarini executed around 1640. Cantarini also made a painting with the same subject now at the Louvre Museum.     The dimension...

The Young Shepherd English School, 18th century circle of Sir Joshua Reynolds oil on canvas, unframed Canvas: 30 x 25 inches Provenance: Private collection Condition: very good condi...