Paintings

Workshop De Ribera Jusepe (1588 - 1652) Oil on canvas "Saint Francis d'Assise". According to Jusepe de Ribera. Period: 17th century. Size: 54 x 41.5 c...

An exceptional early Cuzco School painting, naive depiction of the Holy Family, presented in a contemporary wooden frame. The Cuzco or Cusco school was a Roman Catholic artistic tradition that began in the 1500's in Peru, following the Spanish conquest and subsequent attempts by the Spanish invaders and missionaries to implement the Catholic faith and associated customs upon the Peruvian people. The school was established in the ancient city of Cusco which had previously been the capital of the Incan empire. Bernardo Bitti arrived in Peru in 1583, and with his arrival the acceleration of Cuzqueno Art flourished. During his two stays in Cusco, Bitti was commissioned to make the main altarpiece of the church of his Order, replaced by another after the earthquake, and painted some masterpieces, such as The Coronation of the Virgin, currently in the museum of the church of La Merced, and the Virgen del pajarito, in the cathedral. Cuzco School paintings are marked by their baroque influenced imagery and the subjects of the paintings shown with light focused upon them. Cuzco art...

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

FLEMISH SCHOOL OF THE 17TH Century "Virgin of the Milk" Oil on canvas 45x36.5cm. Gilt wood frame good conditions.

Flemish school 17th century "Our Lady with the Child Jesus, St. John, St. Elizabeth and Zacarias". Oil on canvas Relined. Dimensions: 74 x 84 cm good conditions.

French School "Landscape with Figures". Oil on canvas from the 19th century. Recovered. Dimension: 59 x 82 cm. Good conditions.

GALANT SCENE Oil on canvas, French school, 18th century. Dim.: 64 x 115 cm. good conditions.

Flemish master of the 17th century, "Still life with dog and parrot", oil on canvas, marouflaged 50,7 x 60,5 cm

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

French achool 18th century "Battle". 46cm x 67cm. Oil on canvas. Good condition.

Attribution of Mattia Preti " Salvator Mundi " 17th Century Italian painting from the 17th century depicting the figure of the infant Jesus as Salvator Mundi (Savior of the World),...

Venus and cupid 19th century. French school. oil on canvas. Dimension: 66 x 51 cm. Good conditions.

A stunning oil portrait in the manner of Allan Ramsay, a Scottish painter who was renowned for his portraits in the 18th century. (1813-1784) This is a beautifully executed painting...

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534 Antonio Alegri, (Corregio) Lo...

Spanish School STILL NATURES " Bodegones " 17th Century Oil on canvas, spanish school Screen cleaning performed Dim.: 60 x 80 cm good conditions

17th Century Italian School "Saint Joseph and the Child" oil painting on canvas 95cm x 67cm measures without frame frame size: 10cm good conditions golden frame Private Italian Colle...

Emilian School - Italy 18th century - "Four Still Lifes with Animals and Flowers" oil painting on canvas Dimensions: 50x66 cm good condition

Jan Ten Compe ( 1713, Amsterdam – 1761, Amsterdam ) Flemish Painting oil on canvas 28cm x 35cm very good condition Jan Ten Compe (1713, Amsterdam – 1761, Amsterdam), was an 18th-century landscape painter from the Northern Netherlands. According to his biographer Jan van Gool, he was a follower of Jan van der Heyden and Gerrit Berckheyde...

Dipinto religioso italiano di Scuola Lombarda Madonna con Bambino e San Giovannino circa 1650 con una buona composizione equilibrata ed armoniosa al centro della quale si trova il Bi...

19th century Italian School. "Bird Seller". Oil on canvas, according to an impression by Datero, Veneto of the 3rd met. of the 19th century. Dimension: 166 x 201 cm. Very good condit...

Our Lady with the Child Jesus 18th century Italian school according to model by Reni Guido. Oil on canvas DIM.: 45 x 37 cm good conditions.

18th century Central Italian Painter - Madonna with the praying Saint John oil painting on canvas Dimensions: 63x76 cm good condition

"STILL LIFE" Italian School of the 18th Century Oil on canvas pasted on wood, 18th Century Italian school Small defects. Dim.: 80 x 107.5 cm good conditions

FRENCH SCHOOL circa 1820 19th century " People near a Lock " Canvas 44 x 72.5 cm very good condition

17th century Italian School "ECCE AGNUS DEI" oil on canvas Dec. 70 x 90 cm good condition.

This exquisite oil painting on board by George W. Drew captures the beauty of still life in a unique way. The brushstrokes and color palette used in this artwork are a testament to ...

This original George W. Drew oil painting from 1898 embodies the beauty of still life art. The artist’s Barbizon style is a testament to his skill and creativity. The painting is p...

Plein air oil sketch of a landscape in the Bordeaux region of France, by Albert Stucory, c. 1900. Beautifully framed in a bespoke, handcrafted rustic frame. Modern farmhouse style a...

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...

A 17th century oil on canvas picture, framed, a scene of travelers / noblemen including horses after Philips Wouwerman ( Dutch, 1619-1668 ), noblemen on horseback are drinking ale / ...

This is an absolutely stunning 18th century topographical painting, genre of which known as “veduta”. The crucial role in the development of that genre played Caspar van Wittel or Gaspar van Wittel -known in Italian as Gaspare Vanvitelli...

This an absolutely magnificent unique 17th century painting illustrates pirates in the time of Barbary Slave Trade (European slaves were acquired by Barbary pirates...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

An exquisite circa 1720 English George I period "Kit-kat" style portrait firmly attributed to royal court painter Sir Godfrey Kneller (8 August 1646 – 19 October 1723) of a bewigged ...

Annunciazione con angeli, scuola romana del XVII secolo, olio su carta applicata su tela, misure 78x58.5 cm. Questo dipinto ad olio è stato realizzato su una carta, che, guardando in...

17th century Italian School still life of flowers in a vase, set of two unframed paintings. Oil on canvas with dark background and finely defined flowers. These Italian Old Master Baroque Flowers...

A lovely scene painted by Leon Barillot (1844-1929). Signed L. Barillot lower left.

Set of 2 so-called 'Trompe L'oeuil' ( (deception of the eye) paintings - still life with dead game. These paintings were already made in the 16th century and developed into a genre...

Antique 17th century French Baroque Still Life with Fish. Net size: 35 x 62 cm Size with frame: 53.5 x 79.5 cm Restaured.

Two oils on canvas, 18th century school, representing 2 of the miracles of Saint Vincent Ferrier: the healing of an injured person and the child stricke...

A fine & sensitively executed Barbizon 'plein-air' style landscape depicting rural figures in a treed setting. Oil on wood panel, measuring 9" high x 12.25" wide, signed bottom left...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...

Antique painting, Flemish, flowers, Banks after Van Huysum Oil painting on canvas, from the 18th century, depicting a refined floral composition, made by a follower of Van Huysum, B...

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

Pair of framed antique 17th century Roman Catholic antiphonal music sheets, hand drawn on vellum with illuminated capitals. Measures: 28.25” x 1.75” ...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the painting has never been restored. The Master unfortun...

A pair of beautiful French oil on board paintings from the 1700s depicting interior scenes with characters portrayed while eating and drinking seated at a tavern table. Stunning contemporary gold leaf...

18th century, French Painting with Landscape with Ruins Measures: frame cm L 165 x H 95 x P 10; canvas cm L 142 x H 71 This painting depicti...

Painting with the still young Tsar Peter I. Due to his dark, rather unofficial jacket and the dark background the focus of the painting is based just on the face of the proud emperor...

This magnificent Madonna and Child belongs to an Itlalian (Roman) school of painting and could be a masterpiece of a Carlo Maratta /Maratti (1625-1713) school. Maratta's style of Bar...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

OLOF HERMELIN Swedish, 1827-1913 Collecting the Harvest Oil on canvas Signed lower left "O. HERMELIN" Item # 107LUY29P A vibrant scene of workers l...

Francesco Maria Raineri, known as Schivenoglia (Schivenoglia, Mantua 1678-1758) Esther and Ahasuerus oil painting on canvas Size: 52x137 cm Work exhibited during the exhibition dedicated to the homonymous painter: “Francesco Maria Raineri - Lo Schivenoglia 1676-1758, works from private collections” and published in the catalogue, page 13. Esther is the daughter of Abicàil of the tribe of...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...