Old Masters Art

This lovely British 18th century Old Master oil painting is attributed to the manner of Thomas Beach. The sitter is Robert Monypenny (1771-1834) aged seven. He is the youngest son of...

Work on canvas Plaster and gilded wood frame 66 x 59 x 9 cm Fragile frame for transport. It is possible that it is damaged during the journey.

This lovely British Old Master oil painting is by noted Exeter born artist Thomas Mogford of Exeter. Painted in 1834 it is a portrait of a white hunter horse i...

A fine Old Master British portrait oil painting which dates to circa 1830 and depicts a girl. Painted by the president of the Royal Scottish Academy, Sir John Watson Gordon...

A superb, large Regency circa 1820 portrait of the finest quality. It depicts a lovely young woman holding a child on her back. The portrait is framed behind glass in a magnificent d...

This superb Old Master later 17th/early 18th century oil painting is attributed to Baroque painter and German born animal artist Philipp Peter Roos. He was active in and near Rome fr...

This lovely French Old Master portrait oil painting is attributed to the circle of Jean Auguste Dominique Ingres. Painted circa 1810 it is a head and shoulders profile of a beautiful woman, resting her head on one hand. There is superb attention to detail and vibrant colouring. An excellent example of a French Old Master portrait of the period. Provenance. London estate. Condition. Oil on canvas, 15 inches by 12 inches unframed and in good condition. Frame. Housed in a gilt frame, 20 inches by 17 inches framed and in good condition. Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. He was finally recognized at the Salon in 1824, when his Raphaelesque painting of the Vow of Louis XIII was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur...

The New Born Baby (a version of the Nativity?) Dutch School, 18th century oil on canvas, framed framed: 21 x 18 inches canvas: 18 x 15 inches provenance: private collection, Europe c...

Mythological Figures in Classical Sunset Landscape French School, 17th century oil on canvas, framed framed: 20 x 23.5 painting: 13.5 x 17 inches provenance: private collection, Engl...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting...

Virgin and Child Workshop of Pieter Coecke Van Aelst (Aelst, 1502- Brussels, 1550) 16th century Oil on oak panel Dimensions: panel: h. 71.5cm, W. 48.5 cm (28.15 in x 19.09 in) Later ...

Studio of Miguel Canals, Spanish 1925-1995 Still life painting with flowers in a vase oil painting on canvas, framed oil on canvas, unframed canvas: 23 x...

Madonna and Child Enthroned, c. 1900 Oil/tempera on canvas 42 1/2 x 20 3/4 in. Framed: 45 3/8 x 23 1/2 x 4 1/4 in.

A fantastic British oil painting which is unsigned and is circle of Thomas Lawrence. It depicts a portrait of a lady and dates to circa 1820. This is a super portrait painting which ...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Semi Nude Man drawing a Dagger Italian School, early 17th century circle of Caravaggio oil on canvas, framed framed: 21 x 17 inches canvas : 18 x 14 i...

This very charming British 19th century Old Master portrait oil painting is attributed to the circle of Thomas Lawrence. Painted circa 1810 it is a seated half length portrait of a l...

Late 18th or Early 19th Century Continental follower of Peter Paul Rubens. Flemish ( b.1577 - d.1640 ). Judith and the Head of Holofernes. Oil on Canvas. Image size 31.1 inches x 23...

"Harbour Scene" is an engraving by Claude Gellee (Le Lorrain). The artist signed the piece in plate lower left. 7 3/4" x 9 5/8" art 18 1/8" x 20 1/4" frame Biography Claude Lorra...

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...

This charming 18th century Old Master cartouche portrait oil painting is attributed to the circle of Philip Mercier. Painted circa 1740 the composition is a three quarter length portrait of a young girl holding a wicker basket of flowers. She is clothed in a white dress and beautiful blue silk shawl and is situated in a landscape. A very lovely British Old Master portrait oil painting. Provenance. Christies. Condition. Oil on canvas, 30 inches by 25 inches and in good condition. Frame. Housed in an ornate gilt carved 18th century frame, 38 inches by 33 inches and in good condition. Philippe Mercier (also known as Philip Mercier; 1689-1760) was a French painter and etcher, who lived principally and was active in England. He was born in Berlin of French extraction, the son of a Huguenot tapestry-worker. He studied painting at the Akademie der Wissenschaften of Berlin and later under Antoine Pesne, who had arrived in Berlin in 1710. Later, he travelled in Italy and France before arriving in London—"recommended by the Court at Hannover"—probably in 1716. He married in London in 1719 and lived in Leicester Fields. He was appointed principal painter and librarian to the Prince and Princess of Wales at their independent establishment in Leicester Fields, and while he was in favour he painted various portraits of...

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

Oil on copper Comes with a certificate by dr. Jan De Maere 20/01/2023) Dimensions: 26 x 20 cm, 36 x 30 cm (framed) Johann König was a German painter and follower of Adam Elsheime...

Colonial School, Mexico, XVIII Century "Virgen del Carmen" Oil on canvas 70 x 40 in

This stunning Italian Baroque Old Master portrait oil painting is attributed to the circle of Guercino, Giovanni Francesco Barbieri (1591 - 1666) and it is ascribed verso. The paint...

"Le Bouvier (The Cowherd)" is an original etching by Claude Lorrain. It depicts a shepherd with a herd of cows. This etching is also in the collections of the Met and the Louvre. It ...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a gui...

Italian painter (18th century) - Saint with crucifix. 65 x 50 cm without frame, 78 x 64 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report: ...

The Military Encampment French Old Master, circa 1700 oil on canvas, framed framed: 20 x 27 inches canvas: 17.5 x 24 inches provenance: private collection, France condition: very goo...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

Marshmallows Oil on Canvas 31 1/8 x 31 1/8 in 79 x 79 cm adf0358 "Overtime, French Le-Roy became heavily influenced by the Dutch and Spanish still life painters, particularly the work of Williem Kalf and Luis Melendez. This took his work from a contemporary style to a more traditional genre. This proved popular, leading to more commissioned work, and a second successful exhibition." Irish still life painter David French...

"Les Chevres (The Goats)" is an original etching by Claude Lorrain. It depicts two pairs of goats and a shepherd watching over them. This etching is also in the collections of the Me...

This superb Italian Old Master religious portrait oil painting is attributed to circle of Bartolomeo Schedoni. Painted circa 1700 it is a half l...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

Portrait of a Lady in a Blue Gown Holding a Sheer Scarf c.1675-85 Studio of Sir Godfrey Kneller (1646-1723) Titan Fine Art present this captivating portrait by the leading late seve...

The Prodigal Son Among Courtesans Attributed to Hieronymus Francken II (Antwerp 1578-1623) Early 17th century Antwerp school Oil on oak panel, Dimensions: H. 52.5 cm (20.67 in), W. 74 cm (29.14 in) Flemish-style moulded wood frame Frame: h. 78 cm (h. 30.70 in.), w. 100 cm (39.37 in.) At first glance, this festive and joyful painting depicts a group of elegantly dressed people dancing to the sound of an orchestra in a richly decorated interior with a wide opening onto a rural exterior. However, the real theme is cleverly concealed by the painter and is only discernible through the artifice of a small scene in the background where we see a half-naked man, in the company of the pigs next to a makeshift shelter. In fact, beyond the pleasant and apparently superficial character of the painting, it is a subject taken from the parable of the prodigal son in the Gospel. The illustrated episode is the prodigal son among courtesans. Even if the viewer's attention is drawn to the central couple (prodigal son embracing a pretty courtesan) doing the dance steps, the artist takes care in a narrative approach of all the groups and ancillary scenes in order to create a rich and varied composition. Thus the musicians seated on a raised platform are depicted with great skill, their faces animated, their clothes abundantly varied. The theme of music, which has always been associated with that of sensuality and physical love, helps to exacerbate licentious pleasures. The merry company dances "Spanish pavane", a slow court dance from the sixteenth century, danced close to the ground by couples arranged in a procession, which was probably introduced to the south of the Netherlands around 1600 during the governance of Albrecht VII and the daughter of the King of Spain Isabella Clara Eugenia in Brussels. The interior of the house is also carefully elaborated, the embossed leather dyes on the walls, the middle sideboard (typical in Francken interiors), where the rich gold and silver crockery is placed in front of the painting "Andromeda chained to the rock and Perseus arriving to rescue her". The inclusion of a contemporary and probably extant pictorial work is also one of the characteristics of the Francken family, among them Frans Francken the Younger...

"Etude d'Une Scene du Brigands (Study with Brigands)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum, the Art Institute of...

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example o...

The sitter is elegantly attired in a blue silk dress over a white frilled chemise and a striking crimson mantle. The artist, Thomas Murray, can be described as one of the most successful and talented during the last part of the seventeenth century. It is not surprising that Murray painted the portraits of King William III, Queen Mary, Queen Ann as well as several other high-ranking individuals. The influence of Sir Godfrey Kneller is evident and even expected considering the importance of Kneller, and even though the formula employed for head and shoulders portraits of woman during the period is similar, Murray’s work is distinguishable by a refined and elegant manner, a smooth overall feel, and often, distinctive eyes. Murray is known to have employed not only the same pattern as our portrait but the three distinctive colours (blue, white, red) many times. Thomas Murray was born in Scotland but moved to London to study with a member of the De Critz family. Later he was a pupil of the English portraitist John Riley (1646-1691), who was court painter to King William III and Queen Mary, and was practising as a painter on his own in the 1680s. In 1691 he took over Riley’s studio when that artist died in 1691 and he established a very successful practice. The Rev, James Dalloway accounted that Murray “was remarkable for his personal beauty and for the elegance of his manner” and he was also noted to have been hard working, courteous and popular with his customers. His portraiture retains an individual style and easily recognised but his earlier work is similar to John Closterman, who was a fellow pupil, and many consider this period to be his finest. Murray invested wisely in property and when he died in 1735, he left around £40,000. He had no children and he bequeathed his money to a nephew with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much – but his nephew decided that it was indeed “too expensive” and the plan did not proceed. He is buried in St. Paul's, Covent Garden. Murray’s work is represented in many British country houses and private collections, the National Portrait Gallery London, Royal Society and Middle Temple in London, and in the Uffizi Gallery in Florence. A good example of 17th century British portraiture...

This painting has been the subject of a study by the art historian Fabrizio Dassie (available on request), confirming its inclusion in Jan van Bunnik’s corpus. In this painting, Ja...

Pastoral Landscape Dutch Old Master, 17th/ 18th century oil painting on wooden panel, unframed panel: 16 x 20.5 inches provenance: private collection, France (with former auction lab...

This lovely British Old Master portrait oil painting is attributed to the circle of Sir George Kneller. Painted circa 1680 it is a half length portrait in a feigned oval of a lady in...

Nicolaes (or Claes) Molenaer (Haarlem c. 1630 - 1676) attributable Winter landscape with village, frozen river and travellers Oil on canvas 63 x 77 cm. - framed 82 x 95 cm. The pai...

This charming British early 19th century portrait oil painting is attributed to circle of Sir William Etty and is masterfully portrayed with beautiful pre Impressionist impasto. Pain...

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

Muscular Made Nude, "Olympus"? sepia watercolour drawing on paper, framed framed: 23 x 15 inches painting: 20 x 13 inches provenance: private collection condition: very good and sou...

"L'Apparition (The Vision)" is an original etching by Claude Lorrain (Claude Gellee). This print depicts a religious vision near the edge of a river. The publisher is Mannocci #5 and...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...

During his stay in Italy from 1734 to 1752, Joseph Vernet made several trips to Naples between 1737 and 1746, where he painted numerous maritime scenes. The pre...

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...

"La Fuite en Egypte (The Flight into Egypt)" is an original etching by Claude Lorrain (Claude Gelee). This piece depicts the biblical story of Mary, Joseph, and the infant Jesus goin...

"Le Patre et la Bergere (The Herdsman & Shepherdess)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the British Museu...

This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of...

A delightful painting, oil on paper laid on panel, with beautiful Gainsboresque colouring. This is a fine Old Master circa 1770 landscape in the 18th century Romantic landscape tradi...