Old Masters Art

Guido Reni (Bologna 1575 - 1642) Workshop of Saint Catherine of Alexandria (full details LINK) Oil on canvas Measurements (cm): 96 x 73 - with frame 112 x 88 This splendid work dep...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

Anton Raphael Mengs (Aussig, 1728 - Rome, 1779) Workshop Portrait of a young girl with a book Oil on canvas 64 x 49 cm - Framed 77 x 63 cm , Unsigned The work, depicting a cha...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

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 ...

This stunning, large portrait oil painting is attributed to Spanish Old Master Claudio Coello who is considered the last great Spanish painter of the 17th century. It has formerly been the property of Lady Beatrice...

Italian artist, 19th century Still Life with Hunting Dogs indistinctly signed oil on canvas, unframed Canvas: 14.25 x 24 inches Provenance: private collection, UK Condition: very goo...

Italian School, 17th century Study for the Vision of Saint Anthony Red chalk on paper 247 x 185 mm Unsigned Provenance Private collection, Paris Collection of Count Alessandro Mag...

Pastoral Landscape Dutch painter, 18th century oil on canvas, framed in antique frame framed: 22 x 25 inches canvas: 18.5 x 22 inches Provenance: Private collection, France Condition...

Pausing for a Rest English School, circa 1800, unsigned the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inc...

This superb French Old Master oil painting with excellent provenance is by Jean Francois I Millet. It was painted circa 1675 and is a figurative landscape depicting Diana hunting in ...

French school, 17th Century Portrait of the Marquise de Grugieres Oil on canvas 26.1/4 x 21.5/8 in. (66.7 x 54.8 cm.) In a gilded composite frame, later production (possible early 1...

Still Life With Hummingbird 20th Century Still life, fruit and Flowers, oil on canvas, signed Schroter, 30" x 24" canvas, with frame 40" x 33" Schroter was born in April 1959, in Y...

Portrait of a Gentleman Robert Le Vrac Tournières (1667-1752) (no visible signature) 18th century French School, circa 1725 Oil on canvas Dimensions: h. 81 cm, w. 64 cm. Important gi...

Workshop of Pierre Mignard (1612–1695) Attributed to Henri Gascard (Paris 1635–Rome 1701) Unsigned Portrait of Françoise-Athénaïs, Marquise de Montespan (1640-1707), favourite o...

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 Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Reference: Upcott III, page 1330 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...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Oil on canvas, unframed (not signed). The painting depicts Saint Monica in Augustinian habit, caught in a mome...

Andreani, Andrea (Italian, about 1558–1610), after Andrea Mantegna (Italian, 1431-1506) Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and...

Still life - Salvatore Marinelli Italia 2007 - Oil on canvas cm. 50x100 Salvatore Marinelli's painting is a still life with black and white grapes, peaches, melon, a basket of pomegranates and figs. Objects and light are intensely studied and are painted with wonderful tenderness with variety of fruits. Marinelli is inspired by one of the many works by Adriaen Coorte...

19th century oil Devon coastal scene William Shayer Snr (Circle of) A very attractive oil on canvas of cockle gatherers on the Devon coast The painting depicts a busy scene with people gathering their cockles with horses/donkeys laden with baskets ready to take to market. The painting Bears signature, also inscribed and dated 1833 (lower right) The size overall is 95 x 130cm whilst the image is 64 x 104cm (25 x 40¾ in.) Housed in the original heavy gilt frame Provenance: The property of a lady and gentleman , removed from a Cheshire country house William Shayer (1787–1879) was an English landscape painter and figure painter who became prominent during the Victorian era. A self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

Classical female torso, polished walnut.

18th-century Flemish painter Still life with flowers and fruit, a cake, a precious goblet and cheese oil on canvas 73 x 98 cm. – with frame 98 x 129 cm. Provenance: Cambi, Ge...

17th-century German portrait of the wine merchant Caspar Roemerskirchen at the age of 26 in 1628, Franz Kessler (attr.) This highly decorative portrait depicts the 26-year-old Caspa...

Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'...

La obra no va firmada, es de autor anónimo Se presenta enmarcada la obra El estado de la obra se puede ver, es aceptable, solo presenta alguna leve falta (apreciable en las fotogra...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

Portrait of a lady in a masquerade costume by François de Troy (1645–1730) Signed lower right: peint… de Troy… 18th century France, Paris, circa 1715-1720. Canvas: h. 81 cm, w. 65 cm...

Venetian painter of the 17th/18th century Venus and Cupid Oil on canvas 57 x 49 cm. In frame 71 x 61 cm. The painting captures the attention with its intimate and sensual re...

Salvatore Postiglione (Naples, Italy, 1861 – 1906) Title: Pastime of a young lady from a good family Medium: Oil on canvas Dimensions: without frame 88.3 × 33.3 cm – with frame 115 x...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

This lovely British 18th century Old Master landscape oil painting is attributed to circle of Richard Wilson. Painted circa 1770 it is a Capriccio Tivoli landscape with figures by a ...

Etching and drypoint on heavy cream laid paper, 3 3/4 x 3 1/4 inches (96 x 83 mm), narrow margins. In very good condition with some minor surface soiling. [Björklund's second state ...

GIOVANNI FRANCESCO BARBIERI, known as GUERCINO (1591-1666) Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso) Black chalk heightened with white on light blu...

Beautiful proof of I state on III before the white space under the sword is covered. Without Margins. Very good condition. Ref. Bartsch 92; Biörklund 40-B; Hollstein (White and Bo...

Beautiful neoclassical style artwork by the great Italian artist Vittorio Pisani Probably depicts a theatre script of Aida Signed, located and dated lower right ‘Vittorio Pisani roma...

Francesco Albani (Bologna 1578 - 1660) Follower of The Rape (or Abduction) of Europa Oil on panel 44 x 53 cm with gilded wooden frame (19th century) 61 x 71 cm The work de...

16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting...

Eternal Destiny By Hovsep Pushman (1877–1966) A 20th-century American oil painting on board, signed lower left. This evocative still life features Buddha figures, a blue pottery pitc...

Italianate landscape garden with classical ornament, including Giambologna's Sabine women and a classical urn, view to a bay beyond Coplestone War...

Circle of Leonardo da Vinci (Vinci, 1452 – 1519, Clos-Lucé) First half of the 16th century Study of a Bearded Man in Profile, Facing Right Red chalk on paper 8 × 6 cm Unsigned Provenance: Private collection This delicate drawing belongs to the Lombard school and was created by an artist working under the influence of Leonardo da Vinci, very likely within his close circle. The profile recalls the Apostle at the far left of The Last Supper, and may even derive directly from Leonardo’s own compositional sketches for the mural (Gallerie dell’Accademia, Venice, inv. 254). While Leonardo’s version carries a profound religious and political message, this sheet reveals a more naturalistic interpretation. The precise outlines and the controlled hatching distinguish it from the master’s hand, yet the subtle modeling of the face in red chalk shows clear echoes of Leonardo’s refined technique. Comparable examples are preserved in the Royal Collection Trust, Windsor, including The Head of an Old Man Crowned with a Wreath of Laurels (recto) and The Head of an Old Man in Profile, both originally from Francesco Melzi...

Portrait of a Lady (female saint?) Italian School, 17th century oil on copper, framed frame: 9 x 8 inches board: 5 x 4 inches provenance: private collection condition: very good and ...

La obra no va firmada Se presenta enmarcada la obra con un marco en madera dorada del siglo xix (el marco presenta algunas ligeras faltas sin importancia) Medidas obra: 20 x 17 cm....

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...

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...

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...

Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep, Cows and a Goat in a Landscape oil on relined canvas canvas size 56 x 53 cm frame i...

Antique sculpture of a female Moor with flowering cornucopia Venice, 19th century Carved, lacquered and gilded/silvered wood Total height 202 cm (column base 82 cm, figure 120 cm) ...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

Artist/ School: French School, 18th century (unsigned) Title: Mary and the Infant Jesus Christ Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Pr...

Flemish School, 1600s Landscape With Pan and Syrinx painted around the 1600s oil on copper 19 x 23.5 cm frame 29 x 34 cm Hand-made oak frame by Swedish frame maker Christer Björkma...

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...

Girl with kitten - Giulio Di Sotto Italia 2008 - Oil on canvas cm. 80x70 This painting is Giulio Di Sotto’s personal reinterpretation of the 19th century French painter Jules Frédéric Ballavoine...

'Morning Amusement' English School, circa 1800's after the painting by Sir Joshua Reynolds, British 1723-1792 oil painting on canvas, unframed canvas...

Skull with Sacred Writings and Tablets of the Law is a superb and colorful tempera on cardboard, realized in 1766 by an anonymous artist of ...

This lovely British 18th century landscape oil painting is attributed to circle of Hubert Robert or Robert of the Ruins as he was better known. The work depicts an extensive landscap...

Portrait From The Dutch School, Circa 1670, Young Lady In A Garden Before A Balustrade. Dutch school, ca. 1670. Gouache on parchment laid down on a wooden support (oak). Dimensions...

This fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

La pintura representa a la Virgen María por su iconografía tradicional. Viste un manto azul verdoso que cubre su cabeza y hombros, y una túnica rosada con detalles en tonos claros. S...

Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667) follower The Lute Player First half of the 18th century Oil on canvas 61 x 47 cm Framed 76 x 61 cm This high-quality painting...

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...