Paintings

Alchemy Ceramic crystal glaze painting by William Edwards Hand rolled earthenware circular slab with crystal glaze. William received his BFA in sculptu...

Title: Landscape. Date/Period: 18th century. Dimension: measures without frame 89cm x 61cm. Frame 15cm in plus. with gold trim. Materials: Oil on canvas. Additional information: Ital...

Oil on canvas depicting the Angel of the Annunciation. Sent by God, the angel Gabriel announces to Mary that she will conceive a son of the Holy Spirit, whom she will name Jesus (Luk...

French School 19th century, half portrait of Dyonissus, oil/canvas, restored, relined, signed lower right, approx. 60 x 50cm, gold colored stucco pomp Frame approx. 88x78cm Very...

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...

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.

Title: Moses on the Stone Date/period: XVII century Dimension: measure without frame 60cm x 83cm, frame 13cm in noble wood Materials: oil on wood Additional information: Dutch School...

Angel's Tear Ceramic crystal glaze painting by William Edwards Hand rolled earthenware circular slab with crystal glaze. William received his BFA in sc...

Lithium Crystal Bloom Ceramic glaze painting by William Edwards Hand rolled earthenware circular slab with crystalline glaze. William received his BFA ...

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),...

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

Crystal Halo Ceramic crystal glaze painting by William Edwards Hand rolled earthenware circular slab with crystal glaze. William received his BFA in sc...

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

Lift Off Ceramic painting by William Edwards Hand rolled earthenware circular slab with crystalline glaze. William received his BFA in sculpture from t...

Blue Flame Ceramic painting by William Edwards Hand rolled earthenware circular slab with crystalline glaze. William received his BFA in sculpture from...

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 ...

RIVER LANDSCAPE WITH CASTLE AND BOATS European School 19th Century oil on wood, 19th century European school Small defects. DIM.: 37 x 46 cm good conditions.

Lil Star Ceramic crystal glaze painting by William Edwards Hand rolled earthenware circular slab with crystal glaze. William received his BFA in sculpt...

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

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...

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...

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

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

18th to 19th century framed watercolor Coat of Arms of the Company of Merchant Taylors of the City of York. A guild of freemen since 1273, Charles II granted them a royal charter Apr...

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

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

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.

"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.

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...

Franz Mörscher The composition of the painting is deliberately designed for reduction and corresponds to the idea of cultural minimalism and the new objectivity that developed in the 20th century. Mörscher chooses the rational, crystalline form of the representation of selected objects (vases, lemon, fruits?) and uses color as surface and line to create structure in the space. In this composition, Mörscher reduces the classical means of perspective to create a pictorial space between object light and color. The application of paint appears partially modeled. The natural crack and fissure network (Krakelee) of the sometimes layered paint application seems to be deliberately achieved. The selection of the depicted objects is possibly also based on symbolic aspects. After the desolation of the war years, the painting speaks of the color world of the spirit of optimism of the 1950s. W 63 x H 50 Measures with frame: W 71 x H 58 Biography Franz Mörscher was born on November 7th, 1931 in Bundenbach and died on July 14th, 2018 in Neunkirchen (Saar). Besides the sculptor Hubert Nietsch, he was the second artist to set a monument to the miner’s cow in public space in Germany from 1993 to 1995. Franz Mörscher studied from 1951 at the School of Arts and Crafts Saarbrücken with Boris Kleint among others in the subjects of painting and sculpture. During his studies he met the photographer Otto Steinert...

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...

Original artwork by Finnish painter Max Salmi. In this abstracted landscape a meandering road is depicted disappearing in a forest. It is painted with dynamic brushstrokes in a bea...

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

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 is a beautiful and playful oil on canvas by French artist Guy de Rougemont, signed Rougemont and dated 2006 on the back. It’s been framed with a royal blue shadow box matching t...

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 ...

"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 ...

Crystal Revolution Ceramic painting by William Edwards Hand rolled earthenware circular slab glazed in amber and turquoise crystals. William received his BFA in sculpture from the ...

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

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...

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...

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...

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

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...

Charles McMurray minimalist painting in black and white acryilic latex on canvas. Titled "Shadow VIII", made in 2005, signed on back of canvas.

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...

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.

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

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...

A fantastic original oil on canvas by Naohiko Inukai. This is number forty in a series of colored scapes he created in the mid 1960's and is in excellent condition. This work is signed and dated on the reverse It's color changes subtly with the lighting, when properly lit it casts a beautiful warm orange tone throughout the room. Born in 1937 in Kurashiki-city Okayama,Japan. He came to the US around 1960 and returned to Japan around 1982 were he still resides. Education:Cooper Union School of Art and Architecture New York...

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...