Daniel Hunt Fine Art

Enormous 17th Century Italian landscape with figures in Arcadia. Unframed at present. Excellent condition.

Henri-Edmond Cross Figural Studies Graphite and charcoal on paper 18 7/8 x 14 1/4 inches; 47.5 x 35 cm 26.5 x 31 inches; 67.3 x 78.7 cm inc. frame Henri Edmond Cross (May 20, 1856 -...

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

Gerard ter Borch The Cards Game Oil on canvas 14 x 15.5 inches unframed 19 3/4 x 21 1/2 inches framed Gerard ter Borch (Dutch; December 1617 – 8 December 1681), also known as Gerard Terburg, was an influential and pioneering Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

Edward SEAGO (1910-1974, British) Seated Figure Reading by a River Oil on canvas Stamped signature on reverse Framed 18 ½ x 22 ¾ inches Provenance: Private Estate, Maryland A beaut...

Alberto Vargas was a Peruvian artist best known for his drawings and paintings of pin-up girls that were featured in many notable publications in the 20th century including Esquire a...

Provenance: Sotheby’s December 5th 2006, Lot 388 Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and archite...

Leonard Wells Volk was a famous American sculptor. He went to posterity after making one of only two life masks of United States President Abraham Lincoln. I...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

Bob DYLAN (1941-) Train Tracks mixed media 76 x 61 cm Signed Dylan's iconic Train Tracks image has resonated with fans and collectors since the initial s...

Attributed to James Ross Snr. A Large 18th Century Hunting painting of Duck Flighting oil on canvas 36.5 x 45 inches, inc. frame This l...

John Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...

A Restauration Napoleonic Empire Ormolu-Mounted mahogany day bed (Early 19th Century). The structure consists of solid mahogany. The outward facing ends are each joined to a column, each surmounted by a solid mahogany ball. Ormolu embellishes high and intermediate parts. Fitted with a custom-made mattress and mattress box. Day beds became an integral part of the 19th Century salon...

Black lacquer panel with gilt chinoiserie floral and bird motif. Maison Jansen. Mid-20th century (of that period) coffee table with 18th-century Chinese gilt lacquer panel...

A Maison Jansen French ormolu and rock crystal six-light chandelier (mid-20th century). Of Louis XV style, the open cage centred by an upswept faceted sprig with ormolu finial, the s...

Northern Italian serpentine carved Gilt-Wood console table (Late 18th Century). Pierced wheat sheaf frieze with later white marble top.

Italian Gilt-Wood serpentine console table (Mid 18th Century). The base with later Bardiglio grey marble top.

A Louis XV ormolu-mounted bois satine and fruitwood marquetry writing table. Adjustable writing slide with black leather panel, gilt-tooled with central motif; full length drawer wit...

A Louis XV Ormolu-Mounted Kingwood and Fruitwood Commode (Mid 18th Century). Stamped 'P. Roussel' and 'JME" under marble top. Pierre Roussel (1723-1782) was one of the most prolif...

A French Provincial mahogany table (mid-18th century). With hoof feet.

A pair of Early Provincial Louis XV walnut fauteuils (open armchairs) (Mid 18th Century). Stamped Nougaret. Each with cartouche-shaped padded back, arms and serpentine-fronted seat, ...

An early Louis XV beechwood fauteuil (open armchair) (mid-18th century). The cartouche-shaped padded back, arms and serpentine-fronted seat, uphols...

A very fine German giltwood wall mirror (Mid 18th Century).

A Louis XV Ormolu-Mounted kingwood bedside table (mid 18th century). Stamped '622' on underside.

A Pair of Period Louis XV Beechwood Salon Chairs (Mid 18th Century).

Northern Italian gilt-mirror (Late 18th Century). Possibly German. The mirror plate probably original. With oak backboards.