Old Masters Art

"Two Rams Looking Down & To Their Left" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/2" frame Du Jardin was a master of various genres of painting, including refined and tranquil Italianising landscapes, monumental historical paintings and superb portraits of the aristocracy. Unlike the majority of his contemporaries, Karel du Jardin (b. Amsterdam 1626, d. Venice 1678) was a talented painter in not one, but many different genres. He is especially famous for his small-scale landscapes, such as the charming Italian landscape with a woman milking a goa" (1652) from the Rijksmuseum's collection. Du Jardin depicted both sun-filled Italianate scenes and Dutch farmyards with pigs and sheep. He also painted a range of elegant portraits of aristocrats and merchants. His self-portrait (1662) on copper is one of the most fascinating 17th-century portraits of a Dutch artist. Du Jardin's spectacular large-scale historical pieces, represented is the show by the impressive Conversion of Saint Pau" (1662) from the collection of the National Gallery of London, are among his most remarkable achievements; he often chose themes that were only rarely depicted by other Dutch painters of the period. During his own lifetime Du Jardin was praised by poets and writers, particularly for his attention to detail and elegant painting technique. As Cornelis de Bie, the artist’s biographer, wrote in 1661: "the surety of the brush at his finger and such sharpe clarity […] that the eye thereon doth linger." Du Jardin's valuable paintings were mainly purchased by rich individuals with an eye for elegance, but were also commissioned by prominent institutions such as the Amsterdam 'Spinhuis' (a women's prison), for whom he painted a vast group portrait of the prison-governors. Karel du Jardin was an artist who liked to travel. He lived for a time in Lyon and in Paris, and sailed with Joan Reynst, Heer van Drakestein, by ship via England, Portugal and Spain to Tangier and Algiers, where they met Michiel de Ruyter...

The Hunting Party Attributed to Dirk Maes (1659-1717) Dutch. Figures in a Classical Landscape, Watercolour and wash on paper, Mounted, unframed image 6.75" x 9.75" (17.1 x 24.7cm)...

This painting by Carlo Francesco Nuvolone, the great Lombard master of the mid-seventeenth century, is striking for its dazzling composition and the brilliant colors of Christ's tuni...

Cavaliere Paolo Guidotti, also known as il Cavalier Borghese (Lucca, Italy, 1559 - 1629) Title: Salomé and the Baptist Medium: Oil on canvas Dimensions: without frame 90 x 68.5 cm -...

Attributed to Charles-Joseph NATOIRE (Nîmes 1700 – 1777 Gandolfo) Academy Study of a Seated Male Figure Seen from the Back (Youthful study executed around the 1720s–1730s, likely du...

Artist: Johannes "Jan" Kip (Dutch, 1652/3-1722) Title: "The West Prospect of the Cathedral of York" (Vol. 3, Plate 31) Portfolio: Britannia Illustrata / Le Nouveau Théâtre de la Grande Bretagne Year: 1715-1724 (Third edition) Medium: Original Engraving and Etching on cream laid paper Limited edition: Unknown Printer: Joseph Smith, London, UK Publisher: Joseph Smith, London, UK Reference: "London Illustrated 1604-1850" - Adams No. 22; Crace No. 201; Brunet IV No. 114; Lowndes No. 1277; Lewine page 263-264 Sheet size: 19.25" x 24.19" Image size: 16.75" x 22.5" Condition: With centerfold as issued. Some light toning and foxing mainly in margins, and some light edgewear. Has been professionally stored away for decades. It is otherwise a strong impression in very good condition Rare Notes: Provenance: private collection - Ross-on-Wye, UK. Engraved by Dutch artist Johannes "Jan" Kip (1652/3-1722) after a drawing by Dutch artist Leonard Knyff or Leendert Knijff (1650-1722). Comes from Kip's six volume (including Supplement and 'Atlas Anglois') "Britannia Illustrata" / Le Nouveau Théâtre de la Grande Bretagne", (1724-1728) (Third edition), which consists of 394 engravings and etchings. Printed in one color from one copper plate: black. Biography: Johannes "Jan" Kip (1652/53 in Amsterdam - 1722 in Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses. Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill's "A Collection of Voyages & Travels" (first published 1704). He signed the African scenes in volume V of the 1732 edition as "J. Kip". His most important works were the large fold-out folio illustrations for "Britannia Illustrata", 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, "The Ancient and Present State of Glostershire", 1712 (1st edition); and for "Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne", 1715, an extended reprint in collaboration with other artists. The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was "Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates", London (1707, published in the winter of 1708–9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

James Shaw (fl.1769-1784) Still life of fruit and nuts Oil on canvas Canvas Size - 13 1/2 x 17 3/4 in Framed Size - 16 1/4 x 20 1/2 in Born in Sedgley in Staffordshire, it is unclea...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Portrait of Arab Man in Turban French artist, 18th century oil on canvas, framed Framed: 21 x 16.5 inches Canvas : 18.5 x 14 inches Provenance: private collection, France Condition: ...

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...

This stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...

Painted in the style of the 17th century Dutch painter Alexander Andrienssen, this painting is of a glass vase on a wood surface filled with flowers. The artist's careful attention ...

Artist/ School: French School, 18th century Title: Mary and Jesus Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Provenance: private collection...

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 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...

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

Lauro produced a series of engravings of the ancient monuments of Classical Rome with detailed descriptions in Latin below. 180mm by 240mm (plate mark)...

Nicolò Zafuri (circle of) (documented in Candia between 1487 and 1500, died before 10 July 1501) Title: Madonna with Child Medium: Oil on panel Dimensions: without frame 49 x 40 cm ...

"The Working Landscape" Italian School, 17th century oil painting on canvas, framed canvas: 42.5cm x 60cm framed: 50.5cm x 68cm Fine quality Italian Old Master oil painting on can...

Rembrandt van Rijn 1606-1669 Dutch Woman Bathing Her Feet in a Brook Etching on paper New Hollstein's 309, second state of II Signed and dated "Rembrandt f. 1658" (upper left) Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

This lovely British Old Master portrait oil painting is by noted British Old Master artist James Cranke. Cranke taught George Romney to paint as a small boy, living near by. Painted ...

Portrait of a young Lady Robert Le Vrac Tournières (1667-1752) 18th century French school, circa 1725 Oil on canvas Dimensions: h. 81 cm, w. 65 cm Important 18th century Régence per...

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

This is an original 18th century hand-colored copper-plate engraving by Giovanni Volpato after a drawing by Camporesi. It was the frontispiece for volume one of the rare and valuable...

Antique, decorative oil painting, 18th century. Christian scene. Canvas relined. With a beautiful wooden frame. Dimensions without frame.

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, within a carved and gilded wooden frame cm. 75 x 108 This delightful landscape view animated by a family of shepherds who rest from their daily duties should be compared to the hand of Francesco Zuccarelli (Pitigliano 1702 - Florence 1788); In the landscapes painted by Zuccarelli the world is crystallized, frozen in a moment of idyllic quiet, where the 'Arcadian' sense of the landscape is rendered with that pictorial vivacity, chromatic lightness and compositional grace that we find in its entirety in his painting. By way of comparison we can compare our canvas to other compositions, including: - Landscape with river and resting shepherds, Accademia Carrara, Bergamo - Landscape with bridge and horseman, Accademia Carrara, Bergamo - Landscape with river, village, fisherman and shepherdesses' (Christie's, London May 1960, - Landscape with figures, Accademia Carrara, - Landscape with knight and figures, Accademia Carrara Tuscan by origin, Francesco Zuccarelli trained first in Florence with the landscape architect Paolo Anesi...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to Simon Pietersz Verelst. Painted circa 1700 it is a still life floral of a mixed flower arr...

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...

Rembrandt van Rijn 1606–1669 Dutch Jan Cornelis Sylvius, Preacher New Hollstein Dutch and Flemish (Rembrandt) 235, state 2/2 Bartsch 280 Printed by Rembrandt Signed and dated "Rem...

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. He is holding the paw of a clipped little white dog with drapes and clouds beyond. (It was common practise to dress young boys in dresses up to the age of about 6 or 7 when they were 'britched' or wore britches). An excellent example of Dutch Golden Age art that wouldn't look out of place in a museum. Wm Stonestreet 1666, Prebend of Selsely is inscribed top left. Provenance. Berkshire estate. Condition. Oil and canvas, 44 inches by 36 inches and in good condition. Frame. Housed in an ornate gilt frame, 52 inches by 44 inches and in good condition. Wybrand Simonsz. de Geest (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland in the Netherlands. Wybrand de Geest was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle". De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

'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...

We would like to thank Dr. Ursula Härting who, after examining the work, confirmed the autograph nature of this painting by Frans Francken the Younger in a certificate issued on Dece...

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...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) oil on canvas circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

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

Figure being Comforted (Job?) circle of Willem Drost (Dutch 1633-1659) *See notes below ink and wash drawing on paper (Arms of Amsterdam watermarked) Dutc...

The Tax Collectors Italian School, early 18th century oil on copper panel, framed framed: 14 x 11.5 inches copper panel : 11.5 x 9 inches provenance: private collection, UK conditio...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

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...

German School, 1700s The Road to Emmaus oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches) Provenance: Swedish author and artist Amel...

Pauwels Franck, known as Paolo Fiammingo (Antwerp, 1540 - Venice, 1596) Venus lying in a landscape Oil on canvas 116 x 150 cm. In antique frame 136 x 170 cm. The work is accompanied by a critical card by Dr. Federica Spadotto The splendid painting proposed sees portrayed, bare and stretched out on a red brocade cloth in gold sprinkled with roses, a refined and sensual Venus, in a composition with a profound symbolic value, and arriving at the perfect representation of the Renaissance woman who, like Venus, becomes an allegory love, eros, beauty and fertility. The canvas is part of the prestigious Venetian artistic and cultural environment of the second half of the sixteenth century, whose distinctive distinctive trait can be traced back to its cosmopolitan vocation. This characteristic, as Dr. Spadotto noted in her in-depth study, belongs to the same physiology of the Venetian capital, that is, being a distinctly commercial city located in a strategic point with respect to trade. Representing one of the liveliest ports in the Mediterranean also meant witnessing the continuous passage not only of goods, but of men, ideas, suggestions from distant countries, which influenced not only the taste of their people, but above all art. This happened thanks to the circulation of prints, as well as pictorial specimens, to which are added the stays of great foreign artists and, above all, the permanence in the capital of a non-negligible number of Dutch, Flemish and German masters. An emblematic case in this regard comes from Pauwels Franck (Antwerp, 1540 - Venice, 1596), better known as Paolo Fiammingo, who established himself in his native city at a young age - in 1561 a figure enrolled in the Guild of San Luca - and arrived in Venice in 1573. . He resided in Venice from 1584 until his death, although the stylistic and formal references of some of his works have led critics to believe that in previous years he had undertaken a journey to central Italy, or to Florence and Rome, where he would have metabolized the lively cultural debate that permeated these cities and which, on the other hand, seemed completely absent in Venice. Here Paolo will be fascinated by the sense of color and by the atmospheric component fixed on the canvas by Jacopo Tintoretto (Venice 1518 - 1594), of which he becomes a collaborator, to undergo, around 1590, the suggestion of Paolo Caliari...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: The Card Player Year : 1641 Medium: Etching Paper: Verge Image (plate mark) size: 3.5 x 3.125 inches Signature: Signed and...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

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...

Gabriele Bella (Venice 1730 – Venice 1799) attributed View of Venice with the Guglie bridge (or the Cannaregio bridge, as it was formerly called) circa 1750/60 oil on canvas, ...

Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some foxing and folding ...

Grimace is a beautiful brown and black China ink drawing and watercolor on wire rod paper, made by an anonymous artist of the late 18th century. A precious old master's original dra...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

This mid-18th-century half-length German portrait depicts a middle-aged aristocrat wearing armour and a wig. Despite his heavily-clad appearance, it’s likely that this rather noncha...

Etching on cream laid paper with a large heraldic watermark which is partially trimmed, 4 3/16 x 3 5/8 inches (105 x 84 mm), margins trimmed but preserving the signature in the lower...

The Knight is an original oil painting on canvas realized during the XVII century by an anonymous artist. Provenance: Pecci-Blunt collection. Good condition...

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...