Old Masters Art

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

Provenance: Jean-Marc Du Pan (1785–1838), Geneva (L. 1440), passed to his brother Alexandre-Louis Du Pan (1787–1846); his sale, Geneva, March 26–28, 1840, included in lots 913–917; ...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

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 ...

Carlo Dolci (Florence 1616 - 1686) shop Mater Dolorosa, known as Our Lady of the Finger Oil on oval canvas, 29 x 23 cm. In frame 48 x 43 cm. The painting we present to you depicts ...

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 George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...

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...

Grotesque Figures is an original etching realized by Pierre Firens in the early 17th century It represents two grotesque figures in 17th century clothing. Pierre Firens (1580-1636/...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - La Mort de la Vierge (B99), Year: 1878 (of original 1639), Medium: Heliogravure, Size: 9.25 x 7.5 in. (23.5 x 19.0...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is a copy oil painting on wood panel, after Italian artist Giampietrino (Giovanni Pietro Riz...

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...

La obra se presenta enmarcada con su marco original de la época (el marco presenta faltas y desgastes) El estado de la obra se puede ver, tiene algunas faltas de pintura y faltas en...

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 ...

'Africa' 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 co...

Italian School, 17th century Study after Bernardino Lanino’s Frescoes in Santa Caterina, Milan Red chalk on paper 297 x 186 mm Annotated on the verso: “Vani” (otherwise unsigned) ...

This is an 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Tempio detto della Tosse su la Via Tiburtina, un miglio vicino a Tivoli" (View of the so-called Tem...

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...

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...

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...

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...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

Portrait of a Gentleman in Ruff Collar and Robes Dutch School, 18th century oil on canvas laid over panel, unframed board: 28.5 x 24 inches provenance: private collection condition: ...

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

DRAWING OF NAKED MAN - Study of light by Gennaro Luciano, Naples, 1920, with ebony frame. Cm.65x48.

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...

Monastic Ruins by a Stream French School, early 1800's oil on canvas, framed Framed 15 x 19 inches Canvas : 12.5 x 16 inches Provenance: private collection, France Condition: very go...

"The Victor (A Triumphant Cockerel Crowing Over His Victory...)" After Melchior de Hondecoeter (Flemish, 1636-1695) Oil on canvas Unsigned 40 1/2 x 34 1/4 (frame) inches This much copied painting is a masterfully executed portrait of a strutting and triumphant rooster painted...

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 ...

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: ...

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 ...

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...

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...

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”)...

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...

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 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...

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...

"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...

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...

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...

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...

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...

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...

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 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...

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...

Portrait of Lord Jeffreys of Wem British School, 20th century (presumably after an earlier work) oil painting on canvas, framed framed: 30.5 x 24.5 inches canvas: 26 x 20 inches prov...

Beautiful late 15th-century Burgundian Netherlandish portrait of a woman. Carved walnut. Original polychrome has been removed with traces at base and lower portions of figure. Minor ...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 190 is a beautiful black and white etching and aquatint on paper realized by the Italian artist Ludovico Caracciolo, after Clau...

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...

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...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a guinea pig and a dove in an interior. The two rabbits, one brown one grey are in the immediate foreground, head to head eating something and the dove is standing to their right. The brown and white guinea pig is sitting above and behind them. As the background is dark the animals really stand out and there is superb detail in their respective fur and feathers. This is a charming Italian Old Master animal oil painting and an excellent example of Cassana's work. Provenance. Scottish estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a ebonised frame, 32 inches by 28 inches, in good condition. Giovanni Agostino Cassana (c.1658 – 6 May 1720) was an Italian painter of the Baroque period. He was a son of Giovanni Francesco Cassana and an elder brother of Niccolò and Giovanni Battista. He was born at Venice, and was initially instructed by his father. In 1670 he worked at the court of Ferdinando de' Medici in Florence and travelled regularly between the two cities, but spent at least the years 1718–1720 in Genoa, where he later died. He painted portraits with some success, but preferred painting animals in the style of Antonio Maria Vasallo, Benedetto Castiglione, and Joannes Fyt, a style which he learned from Jacques van de Kerckhove...

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...

A lively, well executed sketch painted by a 19th century follower of Francesco Guardi Follower of Francesco Guardi, 19th Century Figures by a Roman Arch Watercolour with ink and sc...

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...

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

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...

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...