Italian Baroque marriage scene in the style of Vinckeboons, 16th-17th century

A stunning, noble and important early piece - it's original provenance Palazzo Sacchetti, Rome. With a rectangular top above a roundel with a coat-of-arms flanked by grotesques and s...

A wonderfully charismatic depiction, with rich and lustrous ochre tones and in excellent restored condition. This portrait is of the 18th century German School. It's provenance Palaz...

‘The Myth Of The Submarine,’ is a painting based on the distant memory of the artist, Ben Cockett, spotting a fast moving periscope, presumably from a military submarine, from the be...

A raw and vibrant composition investigating colour and light resonant of the work of Ivon Hitchens and Howard Hodgkin. With thickly applied colour washes and shapes with a dimensiona...

Oil on canvas, Villa Albrizzi - Veneto, 1963 Teddy Millington-Drake (1932-1994) was a nomad, linguist, bon viveur, aesthete and master gardener, but above all an artist. Discharged from service and in part inspired by his sister's anecdotes of her travels abroad, Millington-Drake embarked on a painting tour that took him to Lebanon, Iran, Iraq and Syria. He then rented a house, the Villa Albrizzi at Este, Veneto in Italy, and became a more frequent painter, particularly now of abstract murals. He befriended Freya Stark, a writer and traveler who lived nearby, and in Venice he became friends with Daisy Fellowes, Peggy Guggenheim, Barbara Hutton and Elsa Maxwell. In Este, he painted continually and more boldly, turning his hand to abstract murals. He later transformed a neglected Tuscan farmhouse in the village of Poggio which was co-decorated by his friend the designer John Stefanidis. There were vine-hung terraces and a skillfully landscaped garden. A swimming-pool was built on a shelf cut into the hillside, so that you felt yourself gliding towards the horizon, suspended in space as you swam. There Millington-Drake worked passionately at all forms of painting. There are haunting large abstracts inspired by Jung, hard-edged acrylic wave paintings and some intriguing semi-calligraphic works on paper based on phrases taken from the works of poets such as Cavafy, Mandelstam and Elizabeth Bishop...

Oil on canvas, Villa Albrizzi, Veneto, 1963 Teddy Millington-Drake (1932-1994) was a nomad, linguist, bon viveur, aesthete and master gardener, but above all an artist. Discharged from service and in part inspired by his sister's anecdotes of her travels abroad, Millington-Drake embarked on a painting tour that took him to Lebanon, Iran, Iraq and Syria. He then rented a house, the Villa Albrizzi at Este, Veneto in Italy, and became a more frequent painter, particularly now of abstract murals. He befriended Freya Stark, a writer and traveler who lived nearby, and in Venice he became friends with Daisy Fellowes, Peggy Guggenheim, Barbara Hutton and Elsa Maxwell. In Este, he painted continually and more boldly, turning his hand to abstract murals. He later transformed a neglected Tuscan farmhouse in the village of Poggio which was co-decorated by his friend the designer John Stefanidis. There were vine-hung terraces and a skillfully landscaped garden. A swimming-POOL was built on a shelf cut into the Hillside, so that you felt yourself gliding towards the horizon, suspended in space as you swam. There Millington-Drake worked passionately at all forms of painting. There are haunting large abstracts inspired by Jung, hard-edged acrylic wave paintings and some intriguing semi-calligraphic works on paper based on phrases taken from the works of poets such as Cavafy, Mandelstam and Elizabeth Bishop...

17th century oil on canvas representation of the "Feeding of the 4,000" of Italian school.

An impressive and large scale painting on board of the Mother Mary holding the infant Jesus, each displayed wearing a crown with a golden sacred heart, probably Hungarian, the inscription underneath reads ‘Zdravas Kralovno’ in Slovak, which translates to the Latin Salve Regina or Hail, Queen, these are a reference to the Latin Hymn of the same name, which is traditionally thought to have originated in 11th century Germany, and specifically to the monk Hermann of Reichenau. Unlike the Icons of Catholicism, these Eastern Orthodox Icons...

A fantastic late 17th-early 18th century Italian oil on canvas of a battle scene attributed to Francesco Graziani. Measurements are canvas only.

A 17th Century Baroque painting of Our Lady of the Immaculate Conception in yellow, green and red silk robes. The hand on the breast, the Hand of God and...

A 17th Century italian painting of Christ crucified accompanied by the three Marys: Mary Magdalene, Mary Salome and Mary of Cleophas in contemplation of Hi...

A large palatial Flemish baroque historical tapestry depicting a battle scene, with soldiers to the foreground on land, the opposing army arriving by sea, with a city under siege to ...