Painted Paintings

This is a truly splendid antique and highly decorative French hand painted set in a gilded and glazed box frame, dating from the late 18th century. This wonderful fan is beautifully hand-painted with stunning figures dressed in classical costumes, gracefully dancing and playing music with a charming classical pavilion in the background. It has spectacular guards and spins. Add this highly ornate antique framed fan...

A THANGKA DEPICTING AMITAYUS, 18TH CENTURY Tibet. Distemper on cloth, with a silk brocade frame, mounted as a hanging scroll with wood handles. Finely painted with Amitayus seated i...

XVIII century Rural scenes (4) Tempera on paper, 20 x 31 cm With 18th century Venetian mirrored frame, 31 x 39 cm.

Late 18th - early 19th century River Landscape Oil on canvas, 64 x 96 cm - with frame 77 x 10 cm The canvas in question is an example of Vedutist painting at the turn of the 18th an...

Pair of exceptional 18th century icons hand-painted on bone depicting various saints, mounted in glazed gilt metal frames. Apparently unsigned. Eac...

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, nat...

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

18th century stunning extra large oil on Canvas housed in it's original frame by Giovanni Domenico Brugieri (1678–1744). Condition is perfect and has not been restored. Please see i...

Venetian school, early 16th century Oil on panel, 49 x 56 cm. Framed (restorations) These two panel paintings, portraying John the Baptist a...

Omori Soun (b. 1704) Chrysanthemums - One Hundred Flowers A Pair of Six-fold Japanese Screens. Ink, color, gofun and gold leaf on paper. Dating ...

Exceptional mid 17th century portrait of a very beautiful and elegant lady - wearing dress and jewels typical of the period - sadly the sitter is unknown - a superb quality painting...

Oil on canvas painting of a floral arrangement with faintains, birds, pears, cherrys and peaches. Spanish colonial 18th Century

An English oil on canvas hunting dog painting from the late 18th century in carved giltwood frame. Elevate your art collection with this captivating English oil on canvas painting from the late 18th century. Depicting a scene of two hunting dogs gracefully running through the rolling hills, this artwork exudes a sense of energy and movement. The overcast sky adds a touch of drama, enhancing the overall atmosphere of the painting. Presented in a carved giltwood frame, this piece showcases a horizontal format that perfectly complements the composition. The carved details of the frame further enhance the visual appeal of the artwork, adding an element of elegance and sophistication. The painting is wired in the back, making it conveniently ready to be hung in your preferred space. Whether displayed in a living room, study, or gallery, this English hunting dog...

This painting comes from Polland and is over 200 years old. Oil on canvas with little restorations.: let's not forget that there were two world wars in Europe. A lovely Madonna and ...

La Sacra Familia 18th Century Title: La Sacra Familia Dolci, School of Florence 92 x 118 cm A truly stunning 18th Century Italian Oil on canvas of the sacred family. Super high ...

Beautiful 17th century Tooled Leather Oil Painting mounted on board and our best hypothesis is that it is probably Spanish, with a second guess possibly being Dutch. What we do know from a local expert, is that the Putti or Cherub is close to 400-years old. The correct word I believe is actually Putto which is singular for Putti and depicts a chubby small child, typically male. The Putti painting...

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...

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.

Piedmontese painter of the second half of the 18th century Two "Still Lifes with composition of flowers, fruits and mushrooms" Measurements: Frames: cm W 63 x H 74 x D 8.5 frames...

Original Antique Oil on Canvas Painting Coming from a Cornish estate, it was said by the previous owners that the subject was a tin miner, although by the looks of it, I imagine it ...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

This is a very good Spanish Colonial, Cuzco School (Cuzqueno) painting of the Archangel Michael. The painting appears to have little or no restorations and, as such, is in remarkable condition. We have chosen to leave that painting as found as the patina highlights the depth and character of the painting. We have listed separately two complementary larger paintings of the Virgin Mary and the Archangel Michael acquired from the same estate. The Cuzco school is a Peruvian Spanish Colonial religious artistic tradition in which Incan spirituality was incorporated into Catholic iconography. These Peruvian paintings incorporate artistic forms that distinguish Cuzqueno paintings from other Spanish Colonial artistic traditions. The Jesuit order, arriving in the mid-16th century, was the principal Catholic order whose mission it was to convert the Inca to Christianity and introduce Christian iconography and European type painting techniques to the Inca capital of Cuzco. Cuzco School paintings...

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...

European workshop XVII century Portrait of Lars Gathenhielm (1689-1718) Oil on canvas Unsigned Lars Gathenhielm (1689–1718), was a Swedish sea captain, commander, shipowne...

Pair of two oil paintings on canvas depicting landscapes with figures. Veneto, 18th century Good state of conservation.

Each in later bird’s-eye maple frames. Depicting farm animals and skaters on a pond, houses and people in daily pursuits along a waterway.

The story of the Magi comes from the Gospel of Matthew, which indicates that the Magi from the East, having followed a star, came to Bethlehem to adore the newborn King of the Jews, and offered him gold, myrrh and incense. In the West, the number of wise men, after many variations, was established at three. Symbols were quickly associated with them, and they ended up, in the 15th century, personifying the three continents known in the Middle Ages (Asia, Africa, Europe) after having represented, from the 12th century, the three ages...

Allegorical scenes with ebonized frames.

Still life with copper crockery, bottle and majolica. Emilian school, 18th century On the top of a table there are some copper crockery for daily use, an excellently painted gl...

A wonderfully painted oil on canvas by George Morland depicting a moment of life in a cottage on a snowy winter day. Signed lower right. George Morland (26 June 1763 – 29 October 1804) was an English painter. His early work was influenced by Francis Wheatley, but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting; smugglers and gypsies; and rich, textured landscapes informed by Dutch Golden Age painting...

Exquisite antique Arcadia Scene with Shepherds, by flemmish painter Jan Frans Beschey (Antwerp, 1717-1786). Signed bottom left: J. F. Beschey In antique carved wood frame. Net siz...

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...

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

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...

An exceptional, museum quality very large 18th century Greek icon of the Pentecost. Egg tempera and gold leaf on wood, primed with gesso. Attributed to Mount Athos...

Spanish Colonial Virgin Mary Original Oil on Canvas Painting XVIII Century DETAILS Original period frame. PAINTING DIMENSIONS Height: 17.5 inches Width: 12.75 inches ...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Grand tour - Landscape of the Roman countryside with architecture and characters Oil painting on canvas Rome 18th century Measurements: 27 x 33 - 43.5 x 50.5 cm (with frame)...

Flemish School, 17th century Live nature couple with animals Measures: Oil on canvas, cm 25 x 35 - With frame cm 37 x 48 The pair of canvases in question depicts two excited...

Architectural Capriccio of Roman Ancient Ruins with Figures. Italian, 18th century large painting in oil on canvas is from the school of Giovan...

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...

The Sacred Heart of Jesus, Oil Painting on Canvas 18th century An antique oil painting depicting the sacred heart of Jesus. Oil on canvas with p...

Kano Naonobu (1607-1650) Plum Tree and Birds Six-fold Japanese Screen. Ink and slight color on paper. In this evocative ink work spread over a six-panel folding screen, we see the consummation of the elegance and refinement of the Edo Kano school. This 17th century screen is a rare surviving example of a large-scale bird and flower painting by Kano Naonobu, the younger brother of Kano Tanyu...

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding th...

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...

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...

18th century Italian painting by the painter Scipione Cignaroli. The valuable oil painting on canvas depicts a landscape of the Italian countryside with wayfarers on the banks of th...

A fine antique miniature portrait painting, John Smart (1741-1811). The painting circa 1780. A very handsome portrait miniature of a young military officer...

In a giltwood frame and scene of a king with hands clasped over a bedridden child with Christ at his side.

18th century pastel, Portrait of a Young boy with 18th century gilt wood frame.

Follower of Simon Vouet (Paris, 1590 - 1649) The Holy Family with bird Oil on glass, cm 20.5 x 23.5; with frame cm 27.5 x 29.5 The small painting examined, made on glass and...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

A Beautiful oil on board antique portrait of a boy by an unknown artist. The artist succeeded in capturing this boys striking expression. Age related wear and patina. May have had...

This art piece is a Florentine Renaissance period fresco of late 1500 hand painted with egg tempera representing the temptation of Adam and Eve, this pivotal moment in the history of...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

Sacrificio a Minerva Monumentale Dipinto Antico con Scena Mitologica del 1600 dipinta ad olio su tela raffigurante una composizione animata da una moltitudine di personaggi. Il dipin...