Old Masters Art

Esta obra es un icono religioso de estilo bizantino, característico por su fondo dorado y la representación solemne de figuras sagradas. La escena central muestra a la Virgen María, ...

Graphite on greenish gray wove paper. 15 1/4 x 11 5/8 inches (390 x 295 mm). Initialed "G. B." in pencil on the lower right recto. In generally good condition with some minor scattered surface soiling. Condition is consistent with age. ____ This drawing is closely related to two known mid 18th century oils...

17th century German portrait of the wine merchant Caspar Roemerskirchen at the age of 26 in 1628 This highly decorative portrait depicts the 26 year old Caspar Roemerskirchen, weari...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra con un marco del siglo xix en madera estucada y policromada (el marco presenta algún leve descolche) El es...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

This simply superb British 19th century portrait oil painting is attributed to circle of John Constable. Painted circa 1820 it is a sumptuous half length portrait of a lady in a shor...

The Academy of Plato Plato and His Disciples Etching and drypoint c. 1662, printed c. 1710 Signed in the plate lower left Inscribed lower left: 'In villa ab Academo attributa sua[m]...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - The Flight into Egypt, Year: of Original:1627 Printed in: 1906, Medium: Photogravure, Size: 10 x 14 in. (25.4 x 35.56...

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...

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

Fantastic early portrait of a young man and his pug dog. This painting is most likely British, but it could also be from continental Europe. It dates from the late 18th to the early ...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Paolo De Matteis (Piano del Cilento, 1662 - Naples, 1728) attributed/ workshop Triumph of the Trinity with Our Lady, Saint Joseph, Saint John the Baptist, Saint Ignatius, Saint Fran...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

This elegant English 19th-century portrait of a young boy dressed in a Cavalier costume, painted circa 1860, is a striking example of Victorian portraiture that seamlessly combines h...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

SEBASTIAN MUNSTER (1488-1652) ASIAE TABVLA Vlll 1540 (45) Woodcut from Munster's edition of Geographia Universalis, Basel, Henri Petri. 1545 edit...

Rembrandt van Rijn 1606-1669 Dutch Abraham Casting Out Hagar and Ishmael Signed and dated "Rembrandt f. 1637" (upper right) State one of one Etching with touches of drypoint This...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

This stunning large 19th century landscape oil painting is attributed to follower of Joseph Turner, possible George William Mote. Painted circa 1850 it is a panoramic landscape loo...

The Italian Classical Landscape Italian artist, circa 1800's oil on canvas laid on board, framed framed: 9.5 x 13 inches board: 7 x 11 inches provenance: private collection condition...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

This fine late 17th-century Flemish portrait depicts a distinguished gentleman wearing a justaucorps, black cloak, white shirt, vest, leather gloves, and breeches. He’s carrying a wi...

Antonio Tibaldi (Rome, c. 1633 - c. 1684) Still Life with Precious Objects, Brocade Fabrics and a Plate of Sweets c. 1650/1660 Oil on canvas, 96 x 130 cm In frame 115 x 150 c...

Complete series of 20 original black and white etchings on oblong folio and laid paper, in first state before numeration. On frontispiece with date “1763”, dedication to Prince Marco Foscareno and name and address of Ludovico Furlanetto. Each plate is titled and signed on plate "Jo. Bap. Brustoloni sculp." on the lower right margin. Complete title of the series: Prospectuum aedium, viarumque insigniorum Urbis venetiarum nautico certamine, ac nundinis adiectis. Tomus Primus, tabulas XII complectens, quas Antonius Canale coloribus expressit – Joannes Baptista Brustolon aere incidit. Serenissimo Principi D.D. Marco Foscareno Egregio, emerito, sapientissimo Augustae Republicae Duci D.D.D. Anno AE C. 1763 ab V.C. 1341. This series is considered the most important one by Brustolon after Canaletto (from the engravings of Visentini), and was edited in a first version of 12 tables and in a second version of 22 tables. However, Succi affirms that the I state series includes just 20 tables, and the missing two vary from suite to suite so that this series can be considered complete. Very fresh and bright sheets in wide margins, with restored little tear on 4 sheets and a very light vertical fold on center. Papers show the following watermarks: Big cartouche with half-moon Big cartouche with letters “FO” and “AS” Bound and ripples on paper. In detail: Prospectuum Aedium Viarumque Insignorum Ubis Venetiarum is one of the finest of Venetian topographical print suites, equal in relevance to the publications of Carlevarijs, Canaletto-Visentini, and Marieschi, preciously rare, especially in the first edition (of four) with all plates in first state and in excellent state of preservation. Ten of its twenty vedute of the Serenessima derive from the paintings of Canaletto, drawn and engraved by Antonio Visentini, adapted to a larger size by Brustolon. The Bellunese artist extended the views and enriched the landscapes with new objects and figures that animate the scenes. Other four views are deeply inspired by Michele...

Guglielmo Caccia (Monabone, 1568 - Moncalvo, 1625) and workshop Assumption of the Virgin with the Trinity and concert of angels Oil on canvas (125 x 100 cm - In frame 137 x 112 c...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

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

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

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Provenance: Private Collection, Cranston, Rhode Island (by the 1950s?); by family descent until sold at: Bill Spicer Auction, North Kingstown, Rhode Island, 26 January 2011; where a...

Revelry in a Classical Landscape Italian School, early 18th century (circa 1700) oil painting on canvas, laid on board, unframed board: 20 x 36 inches provenan...

George Smith of Chichester (Chichester 1714-1776) Landscape with figures resting by a river; River landscape with figures outside a thatched cottag...

An original hand colored copperplate engraved map entitled in Latin "Archiepiscopatus Maghdeburgensis et Anhaltinus Ducatus cum terris adjacentibus", published in Amsterdam in 1640 i...

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...

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...

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...

Ornamental Still Life with fruit, flowers and birds Italian School, 19th century, unsigned oil painting on canvas, unframed size: 31.5 x 47 inches condition: relined canvas and in very good and presentable condition provenance: from a collection here in England. A very beautiful and decorative oil painting on a huge scale, depicting this classical landscape scene, with ornamental birds...

Beautiful, evocative pastel on paper attributed to the great Emilian artist Alberto Pasini. It depicts, captured with rare intensity, a building taken up several times in other pain...

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...

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop/circle The Allegory of Europe oil on canvas 102 x 76 cm. - with frame: 119 x 92 cm. The work, which can be placed ...

This beautiful Anglo Indian 19th century bird oil painting on panel has something rather special about it. Painted circa 1810, a fantast...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Rima (English, 20th century) *see notes below signed oil on board, unframed board: 31 x 24 inches provenance: UK collection The painting has some scuffs and scratches but is essentia...

Classical Landscape Continental School, late 20th century signed oil on canvas, framed framed: 34 x 43 inches canvas: 27 x 34 inches provenance: fr...

Engraving after Luca Penni

Beautiful Dutch School painting dating from 17th century. Oil on wood panel measuring 10 3/8 x 14 7/16 inches. Unsigned. No inpainting or conservation. Depicted is a scene with a beautiful young woman singing...

Escuela Española siglo XVIII Se trata de un óleo sobre tela representando a San Juan Bautista Se presenta sin enmarcar la obra Medidas: 104 x 83 cm. El estado se puede ver, pres...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...

Cherubim with flowers - Oil on canvas cm.80x100 by Giulio Di Sotto, Italy, 2002. Gold leaf gilded wooden frame available on request This wonderful oil on canvas represents two putti...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Flowers - Oil on canvas cm.80x60 by Maximilian Ciccone, Italy 2002. Frame available on request from our workshop. In this oil on canvas painting the painter Ciccone draws inspiration from the masterpieces of the great Roman master Mario Nuzzi...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco bastante actual El estado de la obra es aceptable, solo comentar que la ...

Rome is a beautiful artwork realized by Jan Peter Verdussen in 1742. In good condition except for some pencil marks and traces of sealing wax on the back and some diffused foxings. ...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Rome is a beautiful artwork realized by Jan Peter Verdussen in 1742. In good condition except for some pencil marks and traces of sealing wax on the back and diffused foxings. Hand...

Andrea Vaccaro (Naples, Italy, 1604 – 1670) Title: Penitent Magdalene Year: 1630-1635 ca. Medium: Oil on canvas Dimensions: without frame 75 x 62 cm – with frame 87.5 x 74.7 x 5.5 cm...