Baroque Paintings

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...

Set of five German Engraved and parcel Gilt Mirror Panels, Each engraved mirrored panel portrays a different character with hand painting and gilt detailing.

These wonderful porcelain plaques were created in circa 1860 by the prestigious Konigliche Porzellan Manufaktur or KPM (German, founded in 1763). The plaques feature beautiful paintings based on works by the famous Seville-based Baroque artist, Bartolome Esteban Murillo (Spanish, 1618-1682). One plaque is decorated after Murillo...

"Madonna With Sleeping Child, Follower Of Giovan Battista Salvi Il Sassoferrato (1609 - 1685)" Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato...

Master of the Neapolitan School of the 17th Century. Vision of Saint Francis Description The saint of the order, identified by his wounds, is depicted in a sleeping posture. Accord...

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...

Our still life depicting a metal brazier on ledge is a rare painting by Baudouin Yvart (French, 1611-1690).  Stretcher measures 15 1/4 by 19 inches.  It has an extraordinary ebonized sgraffito frame, 24 by 28 by 1 3/4 inches, with inlaid mother of pearl and pewter mounts.  Professionally relined and mounted on keyed stretcher. Provenance: Private Collection, Paris, by 1974; Anonymous sale; Boisgirard et Associés, Paris, June 26, 1985, lot 26; Jocelyn Fielding Fine Art Ltd., London; Mr. and Mrs. John H. Gutfreund, CEO Salomon Brothers, New York. Literature: Michel Faré, Le grand siecle de la nature morte...

Nature morte di fiori in vaso di scuola italiana del XVII secolo, coppia di due dipinti senza cornice. Olio su tela con sfondo scuro e fiori finemente definiti. Questi dipinti, natur...

Italian Francesco or Pietro Graziani Neapolitan battle scene, 17th/18th Century This battle scene is attributable to one of the two Graziani ( Francesco or Pietro) battle scene pain...

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

PULZONE Scipione (1554 - 1598) School "Virgin of Sorrows" 17th Century Oil on canvas marouflaged on canvas "Virgin of Sorrows". Follower of Scipione Pulzone. Italian school. Perio...

Oil on canvas depicting Saint Anthony in a garden being visited by Angelic Cherubs with a courtyard and fountain and mysterious figure in the background, the ever present Lily flower in the foreground. In a period ebonized wood frame. Anthony of Padua (Italian: Antonio di Padova) or Anthony of Lisbon (Portuguese: António/Antônio de Lisboa; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest...

AURELIANO MILANI (attributed) (Bologna, 1675 - Rome, 1749) "The Repentance of Saint Peter" Oil on canvas, 75x58.5 cm without frame 85cm x 68.5cm with frame Aureliano Milani (Bologna,...

A moving devotional work in the manner of 17th-century Italian Baroque painting, this 19th-century oil on canvas was created in Italy circa 1870 and depicts the Holy Family with the ...

18th Century Portrait of a Noblewoman in period attire, Oil on Canvas later mounted on board. Woman is dressed in richly detailed period attire and gazes confidently outward. A delic...

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

European School oil on panel of the 18th century Measures: 34X24CM 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

In this exquisite oil on board "Vase with Wildflowers & Insects", Indian artist Jaggu Prasad demonstrates his masterful command of classical realism. Overall measuring 9" x 7" (artwo...

Pietro Bardellino (Italy - Naples, 1732 - 1806), attr., Sacred Heart of the Child Jesus Measurements: with frame, cm L 86 x H 99 x P 8; only the canvas, cm L 78 x H 64 The painting, made in oil on canvas, represents the Sacred Heart of the Child Jesus. Stylistically the work is attributable to Pietro Bardellino (Italy, Naples, 1732 - Naples, 1806), a pupil of Francesco De Mura and considered by critics one of the most gifted and sensitive exponents of the Rococo style in Naples. The canvas represents the Child Jesus, surrounded by flowers in an outdoor setting, while showing the sacred heart. The canvas has a well-balanced color and a strong sweetness of the child’s traits, which with the complicit gesture of the right hand, involves the viewer in the intimate and delicate sharing of the garden in which he sits. The roses, in addition to being a beautiful piece of still life, contribute to enrich the Christological message, being bearers of symbolic meanings. Marian attributes par excellence, are often side by side with Christ, whose thorns foreshadow the Passion. In the canvas, on the top left, two cherubim are observed: among them, according to the Old Testament, is God: the author therefore puts into place an iconographic and iconological hyperbole that amplifies its meaning. The iconographic theme of the Child Jesus with the Sacred Heart in his hand spread between the second half of the eighteenth century and the first of the following century. With the worship of the Sacred Heart of Jesus, the Catholic Church intends to honour the Heart of Jesus Christ, one of the organs symbolizing his humanity, which by intimate union with the Divinity, has the right to worship and love of the Saviour for men, of which His Heart is the symbol. It represents one of the fundamental devotions of Christian life, as it manifests the true face of God, who is prodigal and boundless love. It was the French mystic Saint Margaret Mary Alacoque...

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

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...

Francesco Graziani, Called Ciccio Napoletano, 17th Century He was active in Naples and Rome around the second half of the 17th Century.

French School 19th century, half portrait of Dyonissus, oil/canvas, restored, relined, signed lower right, approx. 60 x 50cm, gold colored stucc...

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

Oil on canvas portraying a dozing man, seated, leaning against a rock, his dog looking at the viewer in the foreground. In the background a group sitting at a table under an awning....

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

A richly detailed and vibrant composition, "Still Life with Flowers'" by Jaggu Prasad (B. 1963) captures the timeless elegance of classical floral still life painting. Executed in oi...

Elegant 19th century pastel portrait of French officer with gold wooden frame. Excellent condition. Measures: 73 x 62 cm and 57 x 46 cm.

Elegant antique oil painting circa 17th or 18th century of a little girl, most likely the daughter of a prestigious doctor or scholar. There is a note attached on the back that reads...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

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

A stunning and exceptionally well executed pair of Swiss 18th century Baroque st. oil on oak paintings by Christian Stocklin. Each Architectural Capriccios ...

Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters. Oil on canvas. Possibly Madrid school, 17th century. Pair of full-length portraits showing the characters against natural backgrounds, with landscapes with mountains in the distance and trees. The male character, who looks directly at the viewer, has dark hair and a fine moustache, and is dressed in a ruff, a doublet, leather gloves, a blued breastplate with gold details, breeches, white silk stockings and cavalier boots. The lady, who modestly lowers her gaze, has her head partially covered with a hat decorated with a brooch and white feathers; she is dressed in a ruff and a dress with a wide-skirted doublet and skirt, wide-mouthed gloves and a short cloak with a decorated edge gathered around the left arm and placed over the right side of the skirt. Alongside these “hunting” dresses, they appear carrying firearms and accompanied by large dogs. The king's dog is standing alertly, turning his head to one side. The queen's dog is sitting looking at her, with a collar and a rope that she holds in her left hand. The male subject is clearly the French King Louis XIII (Fontainebleau, 1601-Saint-Germain-en-Laye, 1643), monarch of France and Navarre (1610-1643), son of Henry IV of France and Marie de Médicis and father of Louis XIV of France. Compare with other portraits: by Rubens, painted around 1622-1625 at the Norton Simon Museum (Pasadena, California, USA); by Philippe de Champaigne, painted in 1635 and kept at the Museo del Prado (Madrid, Spain); the painting by Frans Pourbus the Younger from the 1920s at the Musée des Beaux-Arts in Chambéry (France); etc. Louis XIII married Anne of Austria, daughter of Philip III of Spain, in 1615. This was brought about by the marriage agreement of Fountainebleau (1611), which stipulated the future wedding of the Prince of Asturias, Philip IV, with the French princess Isabella of Bourbon, and that of the French monarch with Anne. Anne Maria Mauricia of Austria and Austria-Styria (Valladolid, 1601-Paris, 1666) was an Infanta of Spain and Portugal as the daughter of Philip III of Spain and Margaret of...

Antique porcelain plaque after Murillo Continental, 19th Century Height 28cm, width 19.5cm, depth 1cm This finely painted antique porcelain plaque depic...

A bust-length oil portrait of a young man, likely dating to the mid‑18th century (circa 1750–1780), depicting a distinguished officer or gentleman. He wears a dark, richly braided co...

A ram lowers its horns in a face off with a barking dog that rises on its haunches. An ox turns its head to watch the row. An annoyed ewe glances over its shoulder, but the two behin...

A remarkable and most unique Italian 18th century Baroque st. giltwood and oil on board picture frame/painting of the Louis Philippe family. The picture frame displays a beautiful pi...

Pair of KPM porcelain plaques after Spanish Baroque paintings by Murillo German, Late 19th Century Plaques: Height 25cm, width 19cm, depth 0...

A monumental oil on canvas in The manner of the Old Masters showing a maiden to be deflowered. This palatial oil on canvas from the late 19th or early 20th century is simply stunning...

19th century Roman painter Still life with cherubs, flower festoons and herma with faun Measures: Oil on canvas, cm H 78 x W 95 without frame Cm H 122.00 x W 106 x D 8 with frame. The work, painted in oil on canvas, octagonal in shape, represents a nature with three putti or cupids playing with flower festoons in a wooded environment in which is placed a herma with faun and, on the left, a large neoclassical marble vase...

This is the Good Shepherd With Lamb Painting. It depicts an oil painting in canvas of the Christ Child seated in a large rock holding with his right hand the shepherd stick and the l...

CIRCLE OF SALVATORE ROSA "Port View" 18th Century Oil on canvas. Recovered. Grid label from screen supplier James Bourlet & Sons (1850-1895). The London firm of Bourlet has made the...

PETRA VON KAZINYAN - DO NOT FEED THE ANIMAL (after Judith LEYSTER) Acrylic on Canvas // Unique, Signed Petra von Kazinyan's "ALTER IDEM" series (named after the famous Cicero quote ...

A stunning pair of antique Italian trompe l’oeil still life paintings, a pair of 18th century oil on canvas vision jokes, false still life paintings known as deception paintings by a follower of Cristoforo Munari (Reggio Emilia 1667- Pisa 1720) of Italian origin, dating back to the first half of 1700s. These 18th century Italian Baroque trompe l'oeil paintings depict an abundance of objects are arranged on a table. The background of the disordered compositions consists of a wooden board wall with hanging sketches and other objects. Both still life compositions are painted in soft ocher tones and have the same unseen source illuminating the display from the left, creating a dark shadow on the right side of both paintings. Biscuits, a glass vase of flowers, earthenware pots, a wooden instrument...

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

Marzio Masturzo, attributed (Active in Italy - in Naples and Rome- in the second half of the 17th century) "Battle between cavalry and vessels with fortified city on the left" ...

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

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

Belgium / 1960 / painting / canvas, wood / Antique / Baroque / Rococo A Large Baroque painting with wooden gilded frame, Belgium ca. 1960. Signed in the right corner. Beautiful p...

Gilt-framed oil painting on board, signed "W. Mulready." Mulready was an Irish painter who worked in London, and a member of the Royal Academy, whose work today hangs in the V&A Muse...

OIL ON CANVAS OF 17th Century LANDSCAPE OF WINTER OF THE NETHERLANDS. Good CONDITION. MEASURES WITH FRAME: 114X90 CM WITHOUT FRAME: 96X74 CM      

This 18th century Italian painting captures one of the most iconic biblical moments: the Adoration of the Magi. The mysterious travelers kneel in reverence before the Infant Jesus, ...

Antonio Travi called Le Sestri (Sestri Ponente, 1608 - Genova 1665) Seascape with ruins Genova, First half of 17th century Oil on canvas with his original 17th century frame M...

Miguel Canals a Spanish painter from Barcelona who painted in the style of 17th century Spanish painters such as Tom'as Hiepes . In Spanish, the word Bodeg'on designates a pictorial ...

A landscape with nymphs and satyrs revelling by a stream , 1628 Daniël Cletcher, Den Haag 1599 Died: Den Haag buried on 1632-11-25 Father: Thomas Cletcher sr. (? - ca. 1655) Mother...

Circle of Sir Godfrey Kneller, Mrs Voss, and Catherine Kneller, oil on paper laid to wood panel Overview This exceptional Baroque portrait artwork, the circle of Sir Godfrey Kneller, is an oil on canvas painting from the early 18th century. The painting, laid onto a panel, represents a compelling historical piece linked to Mrs. Voss, who was active circa 1685-1690 and recognized as the mistress of Sir Godfrey Kneller and the mother of Catherine (Agnes) Huckle. Key Details: Sir Godfrey Kneller, Mrs Voss and Catherine Kneller oil canvas Medium: Oil on paper, laid onto panel Period: Early 18th century Condition: Unframed oil panel Dimensions: Height - 28 inches, Width - 34 inches Historical Connection: A larger version of this artwork is held in the Kingston Lacy Estate, Dorset Artist Influence: Connected to the circle of Sir Godfrey Kneller, one of the most influential portrait artists of the Baroque period. This Old Master portrait painting is a fine example of Kneller’s portrait style, making it a sought-after piece for collectors, historians, and art enthusiasts looking to buy antique paintings in Sussex or the UK. About Sir Godfrey Kneller (1646-1723) Sir Godfrey Kneller (born Gottfried Kniller) was a renowned Baroque portrait painter of Anglo-German descent, widely considered one of the greatest portraitists of the late 17th and early 18th centuries. His influence on English portraiture was significant, and his works remain highly collectable today. 1. Early Life and Training Birth: August 8, 1646, Lübeck, Germany Parents: Zacharias Kniller (merchant) and Lucia Kniller Education: Studied painting in Lübeck Trained in Amsterdam under Ferdinand Bol (a student of Rembrandt) Influenced by the Dutch Golden Age art movement During his training, Kneller adopted techniques from Rembrandt and Bol, shaping his mastery of light, shadow, and lifelike portraiture. 2. Italian Influence and Artistic Growth Sir Godfrey Kneller Mrs Voss and Catherine Kneller oil canvas Traveled to Italy in the early 1670s to study Titian, Veronese, and Caravaggio His exposure to Italian Renaissance and Baroque art deepened his understanding of color theory, composition, and grand portraiture After returning to Northern Europe, he briefly worked in Hamburg before moving to England in 1676 3. Kneller’s Rise in England and Royal Patronage His talent quickly gained recognition among the English aristocracy and royalty In 1680, he was appointed Principal Painter to King Charles II Over his career, Kneller painted portraits of five English and British monarchs: King Charles II King James II King William III & Queen Mary II Queen Anne King George I His iconic portrait paintings continue to serve as historical records of British nobility, making his works highly valuable in the art market. 4. Notable Works and Contributions Kit-Cat Club Portraits: A famous series of 48 portraits of prominent literary, political, and cultural figures of the time. Developed the grand yet lifelike Baroque portrait style, balancing realism with nobility. His influence on later English portrait painters, such as Thomas Gainsborough and Joshua Reynolds, was profound. 5. Kneller’s Honors and Legacy Knighted by King William III in 1692 Created a Baronet by King George I in 1715 Naturalized British Citizen in 1711 Passed away on October 19, 1723, and was buried in Twickenham, England. His works remain highly collectible, sought after by art collectors, historians, and museums worldwide. Historical & Artistic Significance of the Painting This early 18th-century oil portrait attributed to Kneller’s circle is an outstanding example of his influence on Baroque portraiture. The depiction of Mrs. Voss and her connection to Catherine (Agnes) Huckle adds historical depth and collector value. 1. Artistic Style and Features Detailed brushwork characteristic of Kneller’s school Rich color palette influenced by Titian and Rembrandt Noble posturing typical of 17th-18th century aristocratic portraiture Use of light and shadow to enhance depth and realism 2. Collector’s Appeal & Investment Potential Highly sought-after Old Master artwork with documented provenance Strong appeal to art collectors, historians, and museums Valuable addition to Baroque art collections Investment-worthy due to high demand for Kneller’s works in auctions and private sales 3. Comparison to the Kingston Lacy Version A much larger version of this painting exists in the Kingston Lacy Estate, Dorset This smaller panel version offers collectors a unique opportunity to own a historically significant work at a more accessible scale and price Final Thoughts The circle of Godfrey Kneller oil on canvas painting featuring Mrs. Voss and Catherine (Agnes) Huckle is an important historical artwork. Whether you are an art collector, investor, or historian, this painting represents a rare opportunity to acquire a piece of Baroque portraiture. Why This Painting is a Must-Have for Collectors: Authentic Old Master Portrait from the School of Kneller Strong Historical and Artistic Value Investment Potential in the Art Market Connected to the Kingston Lacy Collection Ideal for Collectors of English Baroque Portraits...

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