Art on Sale

Pair of sculptures depicting two winged angels in carved wood Tuscany, late 17th century Carved, gilded and polychrome wood Dimensions: Height 64 cm - ...

A very fine painting by the renowned seascape painter Arthur Joseph Meadows,Off Calais; fishing fleet returning at low tide. Housed in an antique style gilt frame the size overall is...

Fine Portrait of a lady standing in a landscape wearing a white satin dress and holding a posy of flowers. Manner of Sir Godfrey Kneller (1646-1723) ...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

Portrait of Sir Charles Forbes of Edinglassie, Oil on canvas. The size of the portrait is 75 cm x 59.5 cm whilst overall the size is 106 cm x 91 cm In very good condition.There has been some restoration/overpainting etc.There is some minor craquelure. Housed in a period gilt frame decorated with acorns and leaves Overall a good portrait, circle of a fine scottish artist , with an interesting sitter, his details below. sir Charles Forbes of Edinglassie Sir Charles Forbes, 1st Baronet (1774–1849) was a Scottish politician, of Newe and Edinglassie, Aberdeenshire. Forbes was the son of the Rev. George Forbes of Lochell. He was a descendant of Alexander Forbes of Kinaldie and Pitsligo, and was in 1833 served heir male in general to Alexander Forbes, 3rd lord Forbes of Pitsligo, father of Alexander Forbes, 4th Lord Forbes of Pitsligo, attainted in 1745. Forbes was of a bluff but kindly nature, diffident as to his own merits, of a straightforward and manly character. On the death of his uncle in 1821 Forbes succeeded to the entailed estates of the Forbeses of Newe, and was created a baronet by patent in 1823.[1] He married in 1811. His daughter, Elizabeth, married General, Lord James Hay, second son of the seventh Marquess of Tweeddale. Sir Henry Raeburn FRSE, RA, RSA (1756-1823) Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

Matthieu Van Plattenberg known as Platte-Montagne (Antwerp 1608 - Paris 1660) Stormy navy with vessels Oil painting on canvas 84 x 140 cm. i...

Pair of views of Rotterdam: The Stock Exchange building / View of the canal with the old port Eighteenth-century Vedutist painter oils on canvas 47 x 66 cm. - with frame 56 x 75 cm. This pleasant pair of paintings depict two glimpses of the city of Rotterdam, investigated here as vivid documentaries of the habits and customs from the public life of the wealthy Dutch port city, as well as one of the founders of the Dutch East India Company, is an excellent example of 18th century Vedutism We see, in particular, in the first work the monumental Palazzo della Borsa (defined as Il Beurs), designed by the architect Adriaen van der Werff in Westnieuwland, initially a place destined for legislation on trade, where merchant-bankers met periodically to exchange securities credit and enter into sales; it is located on the bank of the Nordblaak River and shot with the Gaapers Bridge in the foreground. The second work immortalizes the docking of the ancient port of Rotterdam, with the foreground view of the two city gates (the Wester Old Hoofdpoort on the left and the Ooster Oude Hoofdpoort on the right); in the background on the left the St. Laurenskerk (Church of San Lorenzo), also called the Great Church of Rotterdam, is the only medieval structure, while on the right the English Church. Very well executed, characterized by a marked brightness and a chromatic range with bright colors and highlighted by the contrast between lights and shadows, our canvases are a very interesting testimony of eighteenth-century Rotterdam, portraying two of the views that have historically influenced a lot on economic history of the city. We can attribute the authorship to an author of the full eighteenth century, inspired by the pictorial style of the Italian landscape painters and whose iconography was presumably drawn from the numerous prints with perspective views made through the optical cameras. In particular, these views of Rotterdam draw their iconographic origin from a collection of perspective prints of the most influential European cities, made by the engraver Johann Balthasar Probst (1732-1801), characterized by a remarkable refinement in the line, at the service of a sense of perspective of undoubted value, and above all characterized by a strong Nordic taste. Descendant of a large family of Augsburg engravers, Probst contributed to making his workshop an important European publishing center between the 17th and 18th centuries, among the major German print publishers in the first half of the 18th century. Despite his travels, including in Italy, between Venice, Rome and Naples, not all the cities he portrayed were drawn from life but taken from earlier prints and drawings and filtered through northern European clichés. Many of these engravings have been lost and are now difficult to find on the antiques market.

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Mannerism, derived from the Italian term "maneria," which simply means "style," was an artistic movement that emerged in the later years of the Italian High Renaissance, around 1520, and extended into the early 17th century. It is often referred to as the "stylish style" due to its emphasis on self-conscious artifice rather than realistic depiction. Historians debate whether Mannerism should be classified as a style, a movement, or a period. In contrast to the harmonious ideals embraced by renowned artists such as Raphael, Michelangelo, and Leonardo da Vinci, Mannerist painters took a step further and created compositions that were almost bizarre. They introduced fresh color schemes, elongated proportions, and exaggerated anatomy of figures, portraying them in convoluted and serpentine poses. These artists skillfully exhibited their techniques and abilities, aiming to evoke a sense of sophisticated elegance. Among the notable Mannerist painters are Jacopo da Pontormo, Bronzino, Lavinia Fontana...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

A fine oval portrait of George Granville, PC, 1st Baron Lansdowne and "Duke of Albemarle" in the Jacobite peerage (1666-1735) Studio of Sir Godfrey ...

The canvas can be inserted in the production of Christian Reder, known in Italy as Monsù Leandro. After a period of apprenticeship in Hamburg, he was f...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with bridge and tower About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

Venetian school of the end of the 16th century Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544 - 1628) Saint Jerome Penitent Oil painting on canvas 85 x 64 cm. - In frame 97 x 76 cm. This splendid painting, which offers us an intense representation of San Girolamo...

Alexander van Bredael (Antwerp 1663 - 1720) - Signed lower left: A.V. BREDAEL F (ecit), Italian coastal landscape with market scene Oil painting on canvas (70 x 88 cm., framed 95 x 113 cm.) Provenance: Mercier & Cie, Lille, France, 05.28.2000, lot 223 Dorotheum, Vienna, 4.10.2000, lot 496 (estimate 18,000-22,000) The work, particularly rich in detail, depicts a fantasy coastal landscape, as the scene of a teeming morning market that animates the main square, with a multitude of characters, including fruit, vegetable and livestock merchants, fishermen in the distance and buyers. The signed painting is a typical work of the well-known painter Alexander van Bredael (1663–1720), a native of Antwerp, specializing in highly imaginative market scenes and village festivals, slides of everyday city life. His works are often set in Mediterranean landscapes, where the architectural models of Italian inspiration stand out, such as the classic village perched overlooking the shore, and the particular fountain that stands out in the center of the square, decorated with masks, female figures and a statue of a satyr on top. Even the style with which the characters are outlined and the tasty genre scenes perfectly reproduce the prototypes of the master, characterized by a use of bright colors, and by an extremely refined attention to detail, which combines his ability as a landscape architect to that of naturamortista. Finally, the particular beauty and wealth of detail with which the depictions of animals are rendered, the beautiful and rustic still lifes exhibited by the vegetable and fruit seller, the silhouettes of the characters, minutely described and enjoyable in every detail, deserve mention. Works by the author that appeared on the market, with stylistic and compositional characteristics similar to our painting: - Alexander van Bredael, Great pastoral feast among ancient ruins, Hampel (Munich) 06.26.2009, nr. 248 - Alexander van Bredael, Figures in a stream outside the city, Lempertz (Keulen) 22-11-2008, nr. 1292 - Alexander van Bredael, Landscape of the South...

Erasmus Quellinus II (Antwerp 1607 - 1672) Vanitas (as an Allegory of the Vanity of Life or of Youth) Oil painting on canvas - cm. 121 x 84, in the frame cm. 135 x 98 The work is accompanied by an in-depth study written by prof Emilio Negro, from which we present some extracts. The theme of the painting that we propose is a singular and rare "Vanitas", a subject of strong moral value which, in the pictorial field, refers to a composition with symbolic elements alluding to the theme of the transience of life, and therefore intent on soliciting the viewer to meditation on the transience of human destiny and on the fragility of worldly pleasures. These subjects, which had particular success in the Flemish context, are works of great charm, interesting to study and often difficult to decipher; protagonist of our canvas we see a capricious little love, sitting on a sarcophagus, a sort of pictorial anthropomorphic Carpe Diem (seize the fleeting moment), who invites you to meditate on the transience of life and to enjoy the moments of happiness it grants; this regardless of the alternating fortunes of fate, symbolized by the putto's foot trampling the gold coins, the precious fabric, the scepter, the ermine stole, the skull, the hunting horn and the books. Next to him is a still life of multicolored flowers, collected in a crystal vase, whose presence takes on a clear allegorical meaning, since they constitute the metaphor of the transience of youthful beauty which, like fresh flowers, is destined to wither. . Particularly noteworthy is the stone sepulcher on which the sweetheart sits, on which stands the acronym "DMS", to be dissolved in the Latin phrase "Diis Manibus Sacrum", that is to the sacred gods of hands, corresponding to the invocation carved on the tombstones. of the last paganism, addressed to the spirits of the deified ancestors. Another very interesting detail is the white sheet that emerges from the pages of the voluminous closed psalter, in which the Latin phrase is traced in beautiful seventeenth-century calligraphy: "Defecerunt sicut fumus dies / mei Psal J.97" to translate: "my days almost smoke they have vanished "(Psalter, Psalm 1. 97), equivalent to another exhortation to reflect on the short duration of existence. With regard to the pictorial origin of the composition in question, it should be noted first of all that it is an interesting replica, with some modifications, of a four-handed work by Erasmus Quellinus the Younger (the figure of the putto) and Daniel Seghers (the still life). Of the same composition is also known a version entitled 'Allegory of the passage of Youth', passed by Sotheby's in Amsterdam as Cornelis Schut...

DR. ROBERT JOHN THORNTON (circa 1768- 1837) THE DRAGON ARUM, 1801 (Dunthorne plate 161, pg. 250 i/iii; Nissen 1 955) Mezzotint printed in Payne's grey...

EIGHTEENTH CENTURY BRITISH CARICATURE THE HAPPY CONSULTATION, or MODERN MATCH, 1769 (DG 4335) ...

Goddess of Love is an original hand-colored etching on creamy-colored paper realized in the 17 century by Martino Rota. Signed on the plate on the low...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...

Boissier (painter and portraitist active at the end of the 18th century) Portrait of a young man Signed and dated "Boissier f(ecit) 1802" on the lower right Pastel on paper transfere...

Marco Ricci (Belluno 1676 - Venice 1730) attributable to Coastal landscape with port city and boats oil painting on canvas 82 x 126 cm., In gilded frame 93 x 137 cm. Provenance: purchased by the previous owners around 1970 in Vienna, at the Hofstätter Gallery (as Marco Ricci) We present with great pleasure this vast and harmonious composition of a coastal view with a fortified city overlooking the sea and a rocky cove in the foreground with several boats, including a vessel. The work, coming from a prestigious Austrian collection, bears a historical attribution to the sphere of Marco Ricci (Belluno 1676 - Venice 1730) who, by virtue of the stringent compositional and stylistic similarities that we can find with the autograph works of the Venetian master, we feel we can confirm. Our marina wisely combines elements taken from life with elements drawn from the author's imagination, set within a wide-ranging perspective framework; the canvas is then enveloped in a diffused but natural luminosity, evoking that sense of atmosphere which is a prelude to eighteenth-century vedutism, but without having those markedly rocaille characteristics. Among the innovations introduced by Marco Ricci in landscape painting, and which we find in our beautiful painting, there is the experimentation of light in its possibilities of atmospheric rendering. The painting in question shares many details with the master's works, such as the mountain ranges that dissolve into the background taking on silvery tones, the tree motif in the foreground and the classic rocky spur, as well as the small figures that animate the scene and still the city ​​on the coast dotted with bell towers and towers, in addition to the compositional cut of the view that expands in depth in a modulated succession of perspective plans. Finally, we can trace the characteristic light effects of the master, highlighted here by the cleaning intervention just carried out in our restoration laboratory, previously obscured by an amber paint that prevented the correct reading of the pictorial material. Trained on the study of the great Venetian tradition and, above all, on Titian's models, Marco Ricci had started his painting activity in the workshop of his uncle Sebastiano. After an important trip to England and Holland, the direct knowledge of Nordic painting - in particular of the works of Johann Anton Eismann, Pieter Mulier...

Portrait of a man is an original artwork realized by John Hall for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

(after) JOSEPH MALLORD WILLIAM TURNER (1775 - 1851) THE DELUGE, 1828. Mezzotint, Engraved by I. P. Quilly after a painting by J. M.W. Turner R.A.. Image ...

Cesare Gennari (Cento, 1637 - Bologna, 1688) Rinaldo holds back his beloved Armida Oil on canvas - 119 x 164 cm. - In frame 141 x 189 cm. The work is accompanied by a critical study written by prof. Emilio Negro (Bologna) This valuable work can be ascribed to the production of Cesare Gennari (Cento, 1637 - Bologna, 1688), and depicts the episode of the last canto of the heroic poem the 'Gerusalemme Liberata' by Torquato Tasso, which features the two famous lovers...

Wonderful 18th century Irish or English portrait, attributed to the Irish painter Nathaniel Hone. Nathaniel Hone was born in Dublin but by 1748 had set...

Portrait of a man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind",...

Original etching on paper realized by Ferdinando Campana in the 18th century. Signed on the plate, on the lower right. Good conditions. The etching belongs to the print suite “Ant...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

Emilian Caravaggesque painter of the early seventeenth century Alessandro Tiarini (Bologna, 1577 - 1668), attributable Madonna and Child Early seve...

The Physiognomy - The anger is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the L...

Sleeping Boy is an original modern artwork realized in the 16th century by Giovanni Fontana. Ivory colored sheet attached on an ivory colored cardboard (...

Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep, Cows and a Goat in a Landscape oil on relined canvas canvas size 56 x 53 cm frame i...

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum" is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right....

Portrait of a man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind",...

Portrait of a man is an original artwork realized by John Thornthwaite for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind"...

Lips Portrait is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge a...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

Wonderful 18th century English gouache on paper of a 18th century English scene of a man on his horse with his dog in a landscape One of a set of five all framed in Hogarth frames. ...

Portrait of a man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", ...

Portrait of Heidegger is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankin...

Portrait of a manis an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", Lo...

Portrait of Attila is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind"...

Peintre actif à Rome au XVIe siècle - entourage de Scipione Pulzone (Gaeta 1550 - Rome 1598) La Pietà (Christ mort soutenu par la Madone) huile sur t...

A very interesting set of five mid-20th-century Italian oils on copper. All five are classical landscape subjects and are signed Roger, though we don't know which artist with the n...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right. Good cond...

The physiognomy - The pray is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Lo...

The physiognomy - The faces is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the L...

Late Gothic, German (15th century) Painter of the Cologne school, circle of Stephan Lochner (Meersburg, around 1400 - Cologne 1451) Panel (compartment of a polyptych) with gold backg...

Le Repos Pendant la Fuitre en Egypte is an original Etching realized by an unknown French artist in 17th century. Late 18th century edition. Good condition except for a missing co...

Ancient Roman statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized in the 18th century. Signed on the ...

19th century portrait, child at play ,Attributed to Henry Tanworth Wells A beautiful oval portrait of a young child at play, attributed to the portrait painter Henry Tanworth Wells. finely executed, this oil on canvas is in excellent condition. Housed in a period frame. The size overall is 79 cm x 62 cm whilst the painting is 56 cm x 46 cm Henry Tanworth Wells [1828-1903] Henry Tanworth Wells RA was an English miniature and portrait painter. He was a member of the Pre-Raphaelite circle though he painted in the academic style. His most popular painting...

Portrait of a man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", ...