Old Masters Art

The Venetian Canal Italian artist, 18th century circle of Francesco Guardi (Italian 1712-1793) oil on canvas, framed framed: 23.5 x 32.5 inches canvas: 20 x 29.5 inches provenance: p...

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...

Portrait of a lady, believed to be Henrietta Hyde (née Boyle), Countess of Rochester, (1646-1687) three quarter length, wearing an amber coloured silk gown, with an embroidered blue mantle, seated in an interior. Oil on canvas in a ‘Lely’ frame with the Hornby Castle inventory number 60 attached on the reverse. Provenance: By descent through the Dukes of Leeds, Hornby Castle, Yorkshire; Christie's, London - The Property of the 10th Duke of Leeds Will Trust, 30th October, 2014, Lot 106. Private collection Guernsey. Hornby Castle, Catalogue of Pictures, London, 1898, p. 5, no.60. Historical and descriptive catalogue of pictures belonging to His Grace The Duke of Leeds, London, 1902, p. 24, no. 60. Henrietta was born in Wiltshire, to Sir Richard Boyle, 2nd Earl of Cork and Elizabeth Boyle, Countess of Cork. In 1665, she married Laurence Hyde, 1st Earl of Rochester, son of Edward Hyde, 1st Earl of Clarendon and Frances Aylesbury. They had four children. As sister-in-law of Anne Hyde, the Duchess of York she was appointed as governess to her daughter, Princess Anne (the future Queen) between 1677 and 1682. Like most of the Boyle dynasty, who in the space of two generations had become almost all-powerful in the south of Ireland, Henrietta was strong-minded and acquisitive, and could be ruthless in asserting her rights. During the last two years of her life, when her husband was Chief Minister to his brother-in-law King James II...

'Insubria' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches ...

Profusion of Flowers by Thomas Webster, British contemporary artist, late 20th century signed oil on board, unframed board: 30 x 18 inches provenance: private collection, UK conditi...

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...

17th Century French School Saint John the Baptist in a landscape oil on copper 17 x 11.5 cm In good condition except very small loss of painting in the lower left part In a modern f...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is an original oil painting on wood panel, likely painted by Italian artist Giampietrino (Giovanni Pietro Rizzoli). The painti...

Portrait of William Shakespeare British artist, 18th century oil on canvas, unframed canvas: 24 x 18 inches provenance: private collection, England condition: very good and sound con...

Flowers on White Oil on Board 61 x 50.8 cm 24 x 20 in Regarded as one of Ireland’s most accomplished fine art painters, Martin Mooney was born in 1960, in Belfast, Northern Ireland....

Pieter Frederick Van Os (1808-1892) A greyhound in a landscape Signed 'P. F: Van Os. f 1825' lower left Oil on canvas Canvas Size - 46 x 39 in Framed Size - 51 x 44 in Provenance: C...

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...

Sawrey Gilpin (1733-1807) Study of a hound in a landscape Oil on canvas Canvas Size - 14 x 17 in Framed Size - 17 x 20 in Provenance: Victor Brockbank Fine Art, London; Private Collection, London. Sawrey Gilpin was a member of an old Cumberland family who chose a career in sporting painting, at which he was encouraged as a young man by the great Duke of Cumberland who had suppressed the Jacobite rising of 1745. Gilpin, though centred on London, always retained his Northern links, and had as patron many northern sportsman, like the sporting fanatic Colonel Thornton of Thornville Royal for whom he painted numerous pictures. Gilpin has suffered from being under the shadow of his incomparable contemporary George Stubbs, but he emerges as a leading horse and animal painter of a competence which is always reliable and occasionally inspired. He is an important link between the early English School of Wootton, Tillemans and the like, and the later painters exemplified by Ferneley and Herring. He was the president of the Society of Artists in 1773, and was elected RA in 1797. A clubbable man, he was popular with his fellow Royal Academicians. He frequently collaborated with them, adding portraits of favourite animals to numerous pictures by Barret, Walton, Romney, Zoffany, Reinagle and even the young Turner. He was the teacher of Thomas Gooch...

Deuchar, David, (after van Ostade). Little Girl Playing with a Baby in its Mother's Arms; Mother with Two Children. Edinburgh: c 1800. Etching on cream laid paper, 3 3/4 x 2 3/4 inch...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Jacques Courtois, known as il Borgognone (Saint-Hyppolite 1621 - Rome 1676) circle of - Battaglia. 53 x 80 cm without frame, 73.5 x 97.5 cm with frame. Antique oil painting on canv...

Portrait of John Hervey, 1st Earl of Bristol (1665-1751). Early 18th-century near-life-size portrait of a noble man richly dressed in a long wig. Circle of the German-British cour...

Louis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...

Altra veduta della Chiesa di S. Ignatio de Papa della Compa di Giesu nel Rione della Pigna is an etching realized in the Late 17th Century by Giovan Battista Falda. Good condition e...

China ink and watercolour on paper. Realized in 1740 ca. Very good conditions. Includes passepartout.

Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo De Grado in the 18th Century. Signed on the plate. Good conditions. The etching belongs t...

This superb British Old Master oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1795, the sitter is Major-General James Hanson Salmond (1766–1837) an office...

17th century Flemish old master painting, Allegory of taste The very fine painting depicts a young boy, cheekily tasting a delicious pie. He's looking at the viewer with eyes twinkl...

Stampa su carta pregiata di un stampa antica "Veduta di Chiaia dalla parte di Levante" di Antonio Cardon . Edizioni Pontevecchio. Logo del Giglio e un pennello con la scritta "Color...

China ink and watercolor on paper. Hand dated. Conditions: Foxing on the top right of the paper

Artist/ School: Italian Old Master, 18th century Title: Angel and Saints appearing to figures, one dressed in a white ruff collar. Medium: oil on canvas...

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

Two images of Queen Catharina of Braganza; one before her marriage to King Charles II, the other after, as Queen of Great Britian. Engraved by Matthiäus Merian, father of Maria Sybli...

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

Portraits of a Lady, Dorothy and Jane Wood c.1750, Fine Carved Frames By John Theodore Heins (1697-1756) Titan Fine Art present these works, which formed part of a collection of family heirlooms of the Wood family who were from Bracon Ash, Norfolk, since the medieval period. Jane’s daughter Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The paintings descended within the family for around 275 years until recent and are exquisite examples of Georgian portraiture in England and are some of the best works by the artist. The original hand carved and gilded pierced frames are magnificent works of art in their own right. The sitters were two children, out of several, of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). The family is from Norwich, which in 1720 was a city second in importance only to London. Their aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. Dorothy Wood (in the blue dress) was baptised 2nd June 1726 and she died unmarried around 1759. Jane (in the pink dress) gave birth to at least six children during her thirty two-year marriage. She was baptised 14 Oct 1727 at Bracon Ash. Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. According to Payne’s Universal Chronicle or Weekly Gazette the marriage took place on 7th July 1758. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet, who was Sheriff in 1710, and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual and in 1779 he gave the corporation of Norwich 100 pounds, to be disposed of as they might think proper, and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Such discrimination probably lies behind the why their children are included in the registers of both the Anglican church in Tacolneston and the Norwich Catholic church in the 1760s. Jane and Knipe had one son, Thomas, who died at the age of four of a small-pox inoculation in 1762 (memorial stones in the Church of All Saints, Tacolneston) and many daughters who were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) was born at Tacolneston Hall. She came to the convent 30 Sept 1774 and ten days later she went to Dames St Sacrament, Rue St Louis in Paris. Their second daughter, Dorothy (died suddenly of apoplexy 21st Nov 1813), came to the convent 19th July 1777 when she was 16 years old and returned to England 23 March 1779. Frances (baptised 22 Feb 1763) came to the convent 16th April 1772 when she was 9 years old and returned 29th May 1777 – however she returned again to the convent 16th May 1778 and left 15th Oct 1778 to return home again. She later married and her surname became Negri. Another daughter, Jane, is thought to have married Juan Manuel Martinez in 1784. There was also another daughter, Mary. The eldest daughter, Ann, first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She then married on 9th July 1799, Dr William Compton (1733- Clifton 1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton (he had earlier marriages to Caroline and Catherine). William Compton later retired from the Commons and spent many years on the continent acting as Chancellor of Ely by proxy from 1777 for the remainder of his life. The couple were British residents of Posilipo Naples and the marriage was hosted on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a sale that raised worldwide interest in 2023, for £20,160. The document is accompanied by a contemporary manuscript account of the wedding, headed 'Paragraph for the papers, sent to Messrs Coutts & Co with request to have it inserted'. Lord Nelson was a household name in Britain due to his many victories, including the Battle of the Nile against the French Navy in August 1798 – which came before the Battle of Trafalgar in 1805. The document states: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

Bolognese painter (18th-19th century) - Maddalena. 70 x 50 cm without frame, 89 x 69 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. Condition ...

Very fine old master Portrait painting of Queen Catherine of Braganza as Saint Catherine attributed to Jacob Huysmans and studio Catherine of Braganza...

Follower of Wouwerman Dutch School c1800 A delightful landscape painted on an oak panel, unsigned and dating from around 1800. The artist has deftly set the mood by placing his trav...

Pair of oval paintings measuring 66 x 89 cm without frame and 90 x 115 cm with coeval frame depicting two gallant moments during a rest from hunting by painter Hendrik Van Limborch (...

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...

Francesco Antoniani (Milan 1700/1710 - Turin 1775) workshop Fantasy coastal view with boats and figures Oil on canvas 56 x 138 cm. - framed 71 x 153 cm. Excellent condition This f...

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...

17th century Portrait of a lady, possibly from the Caulfeild family, seated in a luxurious landscape holding a basket of flowers The sitter is looking sweetly at the spectator, whilst holding a delicate red flower in her right hand. In the background, we can see a delicate sculpted relief with classical figures (putti- a possible reference to love or marriage) Provenance: Christies February 17th 1956, Lot 11 "Portrait of a lady" as Godfrey Kneller...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1750, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero, Etching, 1756 Signed in the plate (see photo) From: Le Antichità Roma...

A superb British Old Master marine oil painting by Peter Monamy. Painted circa 1730 it depicts the Royal navy first and third rate men o war firing a salute....

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

Diana and her nymphs surprised by Actaeon Francesco Albani (Bologna 1578 - 1660), workshop of oil on canvas 62 x 75 cm. framed 72 x 84 cm. (period frame) The proposed painting, de...

Adoration of the Shepherds Attributed to Louis de Caullery (1580-1622) 17th century Antwerp School, circa 1620 Oil on copper: h. 54 cm (21.26 in.), w. 72 cm (28.35 in) A 17th century...

This rather handsome British Old Master portrait oil painting is attributed to circle of Thomas Gainsborough. Painted circa 1780 the sitter is identified on the name plate as Archiba...

This lovely British Old Master oil painting is by noted Exeter born artist Thomas Mogford of Exeter. Painted in 1834 it is a portrait of a white hunter horse i...

Letter T is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions.    The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original...

Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN Rome, First half of the Seventeenth century o...

Without frame. Already been in Koelliker collection (no. inv. LK1372). Daniel Seiter (Vienna, 1642 or 1647 – Turin, Italy, 1705) was an Austrian Baroque painter who worked and trai...

This superb Dutch Golden Age portrait is attributed to circle of Dutch artist Wybrand Simonsz de Geest. Painted in 1666 it is a full length portrait of a young William Stonestreet. H...

This lovely British Old Master portrait oil painting is attributed to the circle of Sir George Kneller. Painted circa 1680 it is a half length portrait in a feigned oval of a lady in...

Biblical scene. Without frame. Born in Verona in 1666, Antonio Balestra began his training in Rome where he became a pupil of Carlo Maratta (1625 – 1713), an Italian painter active...

A rare and most attractive still life by William Smith of Chichester. The sumptuous textures of the peaches and grapes contrasting with the dark background. A really handsome 18th Ce...

The Madonna & Child, with Goldfinch 18th century Italian School oil painting on canvas within antique oval gilt frame overall size: 33 x 28 inches condition: very good indeed, the fr...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

Pair of scagliola sculptures - Dancers (from Canova). Italy, 19th-20th century. h 81 x 30 x 30 cm. Entirely in glazed terracotta. The sculptures take inspiration from the original...

Tavern Interior Flemish School, 17th century oil on canvas, framed framed: 13.5 x 18 canvas: 11 x 16 inches provenance: private collection, France condition: very good and sound cond...