Paintings on Sale

Circle of Peter Paul Rubens (Siegen 1577 - Antwerp 1640) The Judgement of King Solomon Oil on copper (41 x 49 cm. - with ebonised and gilded wooden frame 58 x 66 cm.) The proposed painting, executed in oil on copper, depicts the biblical episode known as the 'Judgement of King Solomon' and is taken from the Book of Kings, in the Old Testament (I Kings, 3, 16-28). The work is derived from the painting in the Statens Museum for Kunst in Copenhagen depicting the 'Judgement of Solomon', which was largely created by Rubens' workshop with some intervention by the master. The iconography of the painting was certainly made popular by the print made by the Dutch engraver Boetius Adams Bolswert (Bolsward, c. 1585 - Antwerp, 1633) now in the collection of the Metropolitan Museum. The extraordinary critical and illustrative success of the work is certain, of which several replicas and copies exist, preserved in museums and private collections: Delft, Rouen and Coutrai, Liechtenstein in Vaduz and in Seville Cathedral. The prototype for the original Copenhagen painting...

Antonio del Ceraiolo or 'the Ceraiolo (Active in Florence, second-fourth decade of the 16th century) Attributable The Annunciation Oil on canvas 99 x 137 cm. In a fine period box f...

Francesco Tironi (Venice, ca. 1745 - 1797) Workshop  of View of Venice with the Grand Canal from the church of S. Croce to the church of S. Geremia c. 1770 oil on canvas, cm. 92 x 1...

Titian painter (16th century - 17th century) Titian Vecellio (1488 or 1490 - 1576) Christ as Salvator Mundi with the Madonna at Prayer Oil on panel (51 x 67 cm. - with tabernacle fr...

Valuable painting depicting 'Arcadian landscape with figures along a stream and villages in the distance', attributed to Jan Frans Van Bloemen, L'Or...

Giacomo Guardi (Venice, 1764 - Venice, 1835) View of Venice with the Giudecca Canal and the Gesuati Church oil on canvas 34 x 42 cm. - framed 40 x 50 cm. Expertise dott Federica Sp...

Bolognese school of the seventeenth century Circle Giovanni Battista Ramenghi, known as Bagnacavallo (Bologna, 1521 - 1601) Oil painting on canvas (86 x 72 cm. - With antique frame ...

Scipione Compagni, or Compagno (Naples, about 1624 - after 1680) Fantastic landscape with the Nativity of Christ and the appearance of the angel to the shepherds Oil painting on canvas cm. 47 x 62 with antique frame cm. 63 x 78 cm. We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno. It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative. The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works. The painting depicts, in a mountainous river landscape, in front of a large ancient building that stands on a rock, the birth of Christ with Joseph and Mary, surrounded by numerous shepherds who have come to honor the sacred event. On the right in the foreground a multitude of other figures, some of which indicate the birth of Messiah with their hands. From the top of a blue sky a luminous glow that pierces the clouds gives way to a crowd of flying angels who spread rays of light; this glow, directed towards a small group of figures, serves to immortalize a very interesting detail, that is the apparition of the angel to the shepherds (Luke II, 8-14) to announce to them the birth of the Savior. "... here I announce to you a great joy, which will be of all the people: today a savior, who is Christ the Lord, was born to you in the city of David. This is the sign for you: you will find a child wrapped in swaddling clothes, lying in a manger ". The bright and clear colorism of the work in question is typical of Neapolitan painting...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

The Toilet of Venus Francesco Albani (Bologna 1578 - 1660), workshop of oil on canvas 62 x 76 cm. - framed 70 x 84 cm. (period frame) The proposed painting, depicting the Toeletta ...

Nicolas Poussin (Les Andelys 1594 - Rome 1665) Workshop of Little Moses found by Pharaoh's daughter Oil painting on canvas Measurements: canvas 45 x 59 cm., in frame 57 x 71 cm. We present this splendid work representing the episode, taken from the Old Testament, of the finding of little Moses by the daughter of the Pharaoh (Exodus 2, 1-10), and which reveals from the first glance the unequivocal pictorial style of the painter. Nicolas Poussin (Les Andelys 1594 - Rome 1665). Poussin spent most of his life in Rome giving life to works capable of fusing the ideal of French classicism...

Balthasar Denner (1685 Hamburg - 1749 Rostock). Mary Magdalene. Oil on copper, 37 × 32 cm (visible size), 45 x 40 cm (frame), signed and indistinctly dated "Denner 17(...)" at centre...

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

Cornelis van Cleve, or Van Cleef (Antwerp, 1520 - 1567) workshop Flemish School, late 16th century Dance of Putti Oil on wood panel 51 x 108 cm. - framed 67 x 124 cm. Click HERE to...

Italian painter (early 18th century) - Four Evangelists. 25.5 x 19 cm without frame, 29 x 22.5 cm with frame. Ancient oil painting on panel. in wooden frames. Condition report: In...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

Flemish painter of the 16th-17th century The Annunciation Oil on canvas 844 x 33 cm./ in frame 63 x 52 cm.) The work presents itself with a canonical iconographic and stylistic scheme, with the Archangel Gabriel devoutly delivering the supreme annunciation to the Virgin child, although there are some details that make the composition very interesting. Entering into the details of the study of the painting, of excellent workmanship, we can immediately appreciate a style rooted in the Flemish tradition, recognising in the compositional layout strong references to the great masters of the Renaissance such as Jan van Eyck, Rogier van der Weyden, Dieric Bouts and Hans Memling...

Peter Paul Rubens (Siegen 1577 - Antwerp 1640) Workshop / circle Crucifixion of Christ with Saint Mary Magdalene Oil painting on canvas 112 x 62 cm. - In antique frame 126 x 73 cm. ...

Lucas Van Uden (Antwerp 1595 - Antwerp 1673) Signed lower right: (Lucas v. ud...) Hillside landscape with pond oil on wood panel 34 x 54 cm, with frame 51 x 71 cm. Work published ...

Hendrick ter Brugghen (The Hague 1588-1629 Utrecht) Workshop Violin Player Oil on canvas 72 x 60 cm. Framed 87 x 78 cm. An analysis of the composition and style of this interestin...

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

Francesco Antoniani (Milan 1700/1710 - Turin 1775) workshop Fantasy coastal view with boats and figures Oil on canvas 56 x 138 cm. - framed 71 x 153 cm. Excellent condition This f...

Giovan Battista Lama (Naples, 1673 - 1748) workshop Exaltation of the Holy Cross with the Symbols of the Passion oil on canvas 84 x 135 cm. - with frame 98 x 148 cm. The proposed p...

Christ and the Samaritan woman at the well Attributable to Ludovico Pozzoserrato (Antwerp circa 1550 - Treviso 1605) Oil on the table 37 x 27 cm., In ...

after RAFFAELLO SANZIO (Urbino, 1483 - Rome, 1520), The Parnassus with Apollo, the Muses and ancient and modern poets 17th-18th century Oil on canvas (123 x 173 cm - framed 137 x 187 cm.) This refined painting, of considerable size and great scenic effect, is a derivation of Raphael Sanzio's famous fresco depicting Mount Parnassus, datable to 1510-1511 and located in the Stanza della Segnatura, one of the four Vatican Rooms. The meaning of the subject was to celebrate humanistic culture, a sort of allegorical representation that saw both the figures of myth and those of the greatest authors of the past side by side in the same space. The scene, enveloped in a lyrical atmosphere, is set on Mount Parnassus, near the fountain Castalia, for Greek mythology the home of the Muses, where ancient and modern poets are depicted. The painting, which rather faithfully reproduces Raphael's piece with perfect harmony and great pictorial quality, is the work of an Italian author active between the 17th and 18th century. We can see the careful balancing of the light, which brings out its chromatic brilliance, and the accentuated sculptural relief that the author gave to the figures, as well as the very faithful rendering of the individual pictorial details of the figures. At the centre of the composition stands the main figure of the god Apollo, crowned with laurel and seated on a rocky boulder intent on playing the lyre from his arm, surrounded by the nine Muses...

John Nost Sartorius (London 1759-1828) Gimcrack with jockey up, wearing the colours of Richard Grosvenor, 1st Earl Grosvenor Inscribed and signed 'Gi...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...

Dutch painter (19th century) – Interior of a tavern with smokers. 21 x 18 cm without frames, 31 x 28 cm with frames. Pair of antique oil paintings on canvas, in black lacquered woo...

Hans (or Johann) von Achen (Cologne 1552 - Prague 1615) workshop Adoration of the Shepherds Oil on canvas 112 x 90 cm./ Framed 125 x 102 cm. The painting that we are happy to prese...

Jacopo Confortini (Florence 1602-1672) Madonna and Child with Two Angels Oil on canvas 80 x 60 cm./Framed 101 x 81 cm. The proposed painting, datable to around the middle of the 17th century, depicts the Virgin enveloped in a golden glow and reclining on a throne of fluffy clouds, while lovingly supporting the Child on her lap, with two adoring angels...

Follower of FRANCESCO MAZZOLA, known as IL PARMIGIANINO (Parma, 1503 - Casalmaggiore, 1540) Cupid Carving His Bow (as the triumph of love and desire over reason and knowledge) Oil o...

Lombard painter of the 17th century Portrait of a Knight in Armour Oil on canvas 81 x 70 cm./ Framed 93 x 82 A handsome gentleman in armour, immortalised in an authoritative and pr...

Paolo De Matteis (Naples, 1662 - Naples, 1728) attributed to Christ Delivering the Keys to St. Peter (Handing over the Keys) Oil on canvas 88 x 138 cm./ Framed 98 x 149 cm. The pro...

Jean-Baptiste Perroneau (Paris, 1715 – Amsterdam, 1783) Portrait of a lady Oil on oval canvas 60 x 50 cm. - In frame 77 x 66 cm. Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l’Europe des Lumières Excerpt from the expertise of Dr. Colace: This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a very talented French painter, whose most beautiful works are located, just like this one, between the fifth and sixth decades of the eighteenth century. "Perroneaeu is more naturally colored than La Tour, the est, in the peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": this is how his brothers wrote about him in La Maison d...

Jacob Ferdinand Saeys (Antwerp 1658 - Vienna 1726) and workshop Architectural capriccio with a coastal view at sunset and figures oil painting on canvas 60 x 91 cm., With frame 75 x...

Artist: Unknown (Circle of David Teniers the Younger, Flemish, 1610-1690) Title: "Man in Tavern Smoking a Pipe" *No signature found Circa: 1690 Medium: Original Oil Painting on Wooden Board Framing: Framed in an antique gold gesso frame...

A very skilfully captured portrait of a handsome young gentleman. The painter, in the circle of Sir Willliam Beechey, has imparted great character and vitality to the sitter, giving ...

Claude-Joseph Vernet (Avignon, 1714 - Paris, 1789) workshop of The Storm on the Lighthouse 1750/60 Technique: Oil on canvas Dimensions: 48 x 67 cm / framed 77 x 93 cm We share a highly pleasing work, a splendid marine executed by a talented painter from the workshop of the Frenchman Claude-Joseph Vernet, depicting a coastal view set in a Mediterranean port with the sea still stormy. The focal point of the composition is the large lighthouse at the entrance to the port, which, due to the power of the sea, was unable to bring to safety the ship that had crashed against the rocks, while the silhouette of a second sailing ship can be glimpsed in the distance. The canvas shows in full the pictorial, chromatic and narrative characteristics of the great master Vernet's coastal landscapes, characterised by the inimitable atmospheric conditions always hovering between darkness and light, storm and calm, instilling the observer with contrasting feelings, made even more intense by a palette of vibrant and highly contrasting colours. A similar composition, from which our author must necessarily have drawn, also attributed to the workshop of Claude Joseph Vernet is to be found in France, in Nantes, at the Musée d'Arts.  The effects of the light create a visual drama in the contrast between the darkness of the rain-laden storm clouds and the gash of clear sky that is opening up, pierced by the timid rays of light. The real magic of the painting is the painter's highly personal use of light and colour, with chiaroscuro effects that accentuate its three-dimensionality and movement.
 The compositional typology, as well as the quality of execution and attention to detail we are dealing with, are typical elements of the 'prototypes' conceived by the master, later taken up around the middle of the 18th century by his best pupils. Similar versions can be found in the most important international museums and private collections, belonging to a large series of paintings that the master created, together with his collaborators, during his stay in Italy. Vernet lived in Rome for twenty years (1734 - 1753), becoming particularly popular with English aristocrats who stopped there on their Grand Tour. International fame followed him from Rome to France, and to his English and French clients he added German princes...

Mattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...

The Resurrection of Christ Follower of Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576)   Venetian school of the late 16th/early 17th century Oil on canvas 108 x 78 cm. - Frame...

Étienne Jeaurat (Vermenton 1699 - Versailles 1789) Game of children intent on harvesting grain (Allegory of Summer) Mid-18th century Oil on canvas 97 x 129 cm - Framed cm. 112 x 14...

Charles Towne (1763-1840) A bay hunter in a landscape signed and dated 'Charles Towne Pinxit 1816' lower left Oil on canvas Painting Size - 20 x 26 Framed Size - 25 x 31 in Provena...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Louis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...

The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...

Diana and her nymphs surprised by Actaeon Francesco Albani (Bologna 1578 - 1660), workshop of oil on canvas 62 x 75 cm. framed 72 x 84 cm. (period frame) The proposed painting, de...

The Knight is an original oil painting on canvas realized during the XVII century by an anonymous artist. Provenance: Pecci-Blunt collection. Good condition...

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

Balthasar Van Den Bossche (Antwerp, 1681 - 1715) Alexander the Great and Campaspe in the studio of the painter Apelles The canvas was exhibited in Perugia (Museo di Palazzo della Pe...

This small yet captivating painting, crafted on a copper plate, dates back to the mid-1600s and was created by a Flemish artist. Subject Matter: The central figure in the artwork is Mercury, easily identified by his symbolic attributes like winged sandals, petasus, and caduceus. Beside him is a likely female figure, characterized by her attire and absence of weaponry. The depicted scene could represent two mythological tales: Mercury and Calypso: This interpretation suggests the artwork shows the moment Zeus sends Mercury to Calypso's island, Ogygia. Mercury is there to order Calypso to release Ulysses, whom she saved from a shipwreck but kept captive. The lush, wooded background and the three distant figures could hint at Ulysses' farewell to Calypso. Mercury and Herses: Another interpretation could be a scene from the love story of Mercury and Herses. The background figures might symbolize the sisters returning from a procession, while the forefront could be the initial meeting between Mercury and the most beautiful sister, Erse. Artistic Inspiration: The painting's landscape and setting are heavily influenced by the early 17th century Northern European art trends, especially the works of Jan Brueghel the Elder. However, the artwork stands apart with its unique luminescence in detailing and a distinctive approach to depicting figures. While the exact origin and artist remain somewhat mysterious, the style and treatment of light hint towards works close to Josse de Momper...

Saint Sebastian cured by angels Antonio d'Enrico, called Tanzio da Varallo (Alagna Valsesia, c. 1582 - Varallo, 1633) - circle of Oil on canvas 112 ...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711), attributed Circumcision of Christ Oil on canvas, 120 x 102 cm., In frame 138 x 119 cm. The p...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting...

Giovanni Ghisolfi (Milan 1623 - 1683) Architectural capriccio with ruins of an Ionic temple Oil painting on canvas 73 x 87 cm., within a gilded wooden frame 87 x 100 cm. This quali...

Nicolaes (or Claes) Molenaer (Haarlem c. 1630 - 1676) attributable Winter landscape with village, frozen river and travellers Oil on canvas 63 x 77 cm. - framed 82 x 95 cm. The pai...