Old Masters Art

Oil painting on canvas, framed in a rich gilt frame decorated with acanthus leaf motifs. The work depicts an elegantly dressed female figure, portrayed in profile in a lush formal ga...

Beautiful portrait of a young woman in the manner of Peter Paul Rubens. Oil on oval canvas measuring 12 7/8 x 16 inches. Unsigned. Canvas was originally painted for rectangular for...

This beautiful painting, due to its very high quality of execution, style and era, can be referred to the great artist Warren Sheppard, who specialized in seascapes. Of great evocati...

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

Portrait of an Elizabethan Gentleman in a Black Doublet c.1595 Manner of Hieronimo Custodis (died c.1593) Oil on copper Unsigned This exquisite oil on copper portrait, painted around 430 years ago, is a splendid survival from the Elizabethan era - the golden age in England’s history, when Queen Elizabeth I was on the throne. It is a time that is sandwiched between two golden ages of English renaissance culture, the reigns of Henry VIII and Charles I. This period produced a style of painting quite unlike that anywhere else in Europe and one that deserves serious assessment. Just a couple of years after our portrait was painted, English painting developed on another course, driven mainly by the artists Marcus Gheeraerts the Younger and Isaac Oliver; they depicted a new mood that was pervading Elizabethan and Jacobean society, which was that of romantic melancholy. Elizabethan painting...

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...

The Hunchbacked Fiddler (3rd State), 1654 Etching 266 x 113 mm.; 6 1/2 x 4 7/16 inches Watermark: Fleur-de-lys in a Crowned Shield References: Godefroy 44 III/VI Hollstein 44 III/VI Pelletier, Adrian van Ostade...

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...

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...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and cap...

Portrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...

This superb religious figurative oil painting is by noted artist Wilfred de Glehn. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow. Indeed he was good friends with John Singer Sargent and collaborated with his on some projects. This painting, painted circa 1910 is of three saints, from left to right they are Saint Jerome, Saint Roch and Saint Sebastian. It is based on a work attributed to 16th century artist Alessandro Oliverio. Saint Jerome was a biblical translator and monastic leader and is depicted in red, holding books. Saint Roch and Saint Sebastian were known as the Plague saints - Plague saints offered hope and healing before, during, and after times of plague. A specific style of painting, the plague votive, was considered a talisman for warding off the plague. It portrayed a particular saint as an intercessor between God and the person or persons who commissioned the painting – usually a town, government, lay confraternity, or religious order to atone for the "collective guilt" of the community. Rather than a society depressed and resigned to repeated epidemics, these votives represent people taking positive steps to regain control over their environment. Paintings of Roch represent the confidence in which renaissance worshipers sought to access supernatural aid in overcoming the ravages of the plague. The thirteenth-century Saint Roch (or Rocco), whose death is still commemorated in Italy, is especially invoked against the plague. He attended plague victims in public hospitals in Italy according to traditional accounts of his life. Images attributed to the Spanish historical painter Nicolás Borrás in the Royal Cornwall Museum, or other works in institutions from The National Gallery to the Wallace Collection, show him baring his thigh to show the mark of the plague, as he is in this painting. Saint Roch is also the patron saint of dogs, after one carried food to him in the prison where he died...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence. This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art. This magnificent etching is presented in a brown-colored wood frame and a tan French...

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...

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...

Circle of Cornelius Johnson (1593-1661), a 17th century portrait of a lady, bust-length oval, wearing an ivory silk gown with blue silk bows and lace c...

Figures in a Classical Landscape French School, 18th/ 19th century oil painting on copper, unframed copper: 4 x 5 inches provenance: private collection condition: the work has paint ...

Portrait of a Gentleman with Blue Cloak and Portrait of a Lady in Russet Dress c.1697 Thomas Murray (1663-1735) These fascinating portraits are exquisite examples of portraiture in ...

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53...

Julius Porcellis (Rotterdam 1610 – 1645 Leiden) attributable Seascape with ships Oil on wood panel (oak) 52 x 84 cm In gilded wood frame 77 x 108 cm The painting on display d...

French School, early 19th century Battle Scene between Greeks and Ottomans, circa 1820–1830 Pencil and brown wash on paper, 30 × 46 cm Unsigned Provenance: Former collection of P...

Portrait of Mr. Gilbert (believed to be the founder of 'Gilberts Charity, Bridgwater, Somerset) English School artist, late 17th/ early 18th century oil...

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...

Correccion is an original artwork realized by Francisco Goya and published for the first time in 1799. Etching on wove paper. This artwork belongs to the Third Edition published in...

This superb 18th century Old Master floral still life oil painting is attributed to Flemish artist Pieter Casteels III. Painted circa 1730 it is a garland or swag of flowers, somethi...

A pair of 18th century Italian landscapes with classical ruins and figures, circa 1750. Circle of Giovanni Panini (1691-1765) Thomas Agnew and Sons, Lo...

Attributed to Gabriel-Jacques de Saint-Aubin (Paris, 1724 – 1780) Le Menuet, circa 1765–1770 Red chalk on paper 13 3/8 x 8 1/4 in (34 x 21 cm) Verso: black chalk and red chalk Unsi...

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)...

Unknown Russian Artist Russian Orthodox Church, Middle 19th century Unsigned Illuminated in red, yellow blue and green pigments and gold leaf on paper An Illuminated manuscript folio...

Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...

Frans Van Der Mijn (Düsseldorf, Germany, 1719 - London, UK, 1783) Title: Portrait of a gentlewoman Year: 1756 Medium: Oil on canvas Dimensions: without frame 71.8 × 59.5 x 2 cm Pain...

Etching on cream laid paper laid down to a wove paper support, 4 x 2 5/8 inches (101 x 67 mm) (sheet). In good condition with scattered light areas of discoloration. Printed early 19...

Portrait of a Young Lady, probably British c.1730–1740 Attributed to Jeremiah Davison (c. 1695–1745) What makes this portrait immediately compelling is its directness: the sitter’s ...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Nicola Viso, (active 1724 – 1742) Title: The adoration of the magi Medium: Oil on canvas Dimensions: without frame 63 x 100 cm – with frame 76.5 x 114.7 x 4.5 cm Signed “N. Viso. f” ...

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

The Finding of Baby Moses Fontainebleau School, circa 1580's period oil painting on thick wood (walnut wood) panel, framed framed: 32.5 x 27 inches wood: 25 x 30 inches provenance: p...

The Leper is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs to a late edition of ...

Provenance: Private Collection, Paraguay, for at least the last 80 years Painted in the Viceroyalty of Peru during the 18th century, the present work depicts the young Christ as the Niño de la Espina—a devotional representation of Christ as he looks down at his bleeding finger, which has been pricked by the crown of thorns resting on his lap. The subject of the Young Christ Pricked by a Thorn was especially popular in Cuzco, and the rich details and decorative elements of our work perfectly capture the essence and style of the Cuzco School of painting. In our painting, Christ wears an intricately patterned floor-length robe trimmed with gilded cuffs and a gilded collar. The delicate gilding, including the halo of golden rays emanating from his head, are executed in brocateado, an ornamental over-gilding technique that is characteristic of the Cuzco School. The red chair on which Christ sits also includes brocateado in the decorative gilt elements. The form of the chair takes inspiration from those commonly used by friars both in Spain and the Andes, known as silla frailera or sillon frailero, and was also frequently employed in related depictions of the Virgin Mary Spinning. Here the young Christ is rendered with soft, elongated features that reflect the influence of the Italian Mannerist painters who were pivotal to the formation of the Cuzco School, including the Jesuit friar Bernardo Bitti and Matteo Pérez del Alesio. Additionally, while its origins can be traced to Northern European pictorial traditions, the lush flower garland that frames the work is a signature feature of Cuzqueño painting...

Roman School (circa 1590–1620) Study of a Male Executioner Black chalk on laid paper, 275 x 199 mm Unsigned Formerly Giancarlo Sestieri Collection This dynamic figure study, exe...

After Bartolome Esteban Murillo (Spanish, 1618-1682), "The Little Fruitseller", Oil on Canvas, 19th century, apparently unsigned, depicting young girl and boy counting money over var...

Antique oil on canvas of a Russian or Polish nobleman, painted by Rembrandt van Rijn in 1637. There is much controversy about this painting, currently housed in the National Gallery of Art in Washington D.C. and has previously been owned by such luminaries as Catherine the Great and Andrew Mellon. It has been referred to as both a Polish and Russian nobleman, the sitter wears a Russian sable hat...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

Antonio Joli (Modena, 1700 – Naples, 1777) Pair of views of Rome 1. View of Rome with Trajan's Column and the Church of the Holy Name of Mary 2. View of Rome (Piazza Colonna) ...

Equestrian portrait of Louis XIV, Workshop of René-Antoine Houasse, (Paris, c. 1645 - Paris, 1710) Late 17th century French school, c. 1690 Oil on canvas, h. 100 cm, w. 80 cm Importa...

Marco Ricci (Belluno 1676 – Venice 1730) Circle of Pair of Arcadian landscapes with figures Oil on canvas 56 x 72 cm. - Framed 77 x 93 cm. This pair of charming landscapes, ex...

An impression from the 1st edition published in 1799, the only edition published during Goya's lifetime. References: Los Caprichos Plate 15; Delteil 52; Harris 50 III.1 Prado ...

This 17th century hand-colored engraving of a lemon entitled "Limon Lavrae", plate 219 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aureorum Cultura Etu...

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...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

Letter of the Alphabet Q from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Signed on the plate. Good conditions...

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; ...

17th century European oil, Christ and is disciples seated around a table. An interesting and very unique painting. Possibly a fragment originally from a piece of furniture. The s...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

Attributed Federico Icilio Joni (1866-1946, North Italian Sienese) “Portrait of a Young Boy” 17 ¾ x 14” (on poplar panel) Icilio Federico J...

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

John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...

FRANCISCO GOYA (1746 - 1828) MADRE INFELIZ (Unhappy Mother) circa 1811-13. (Delteil 169; Harris 170) Aquatint with etching, Plate 50 From Los Disastres de la Guerra. (Disasters of ...

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...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...