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antique art: paintings
Works of art created with paint.
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Landscape with a cow
sia antion, riga, latvia
Karl Kunz. Carton, oil. 48.5x71 cm Width: 48.5cm, Height: 71cm, Depth: 48.5cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9508
£385.27
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Fishermen
sia antion, riga, latvia
Canvas, oil. 74x100 cm Width: 74cm, Height: 100cm, Depth: 74cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9507
£1,643.84
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Fishing nets
sia antion, riga, latvia
Canvas, oil. 97.5x62 cm Width: 97.5cm, Height: 62cm, Depth: 62cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9506
£1,044.52
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Engraving Naples AU 14 EME SIECLE
sia antion, riga, latvia
51x67 cm Width: 51cm, Height: 67cm, Depth: 51cm, Weight: 10kg, Condition: Condition of use, Material: Engraving, ID: 9474
£333.90
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Landscape by the lake
sia antion, riga, latvia
A. Mironovs, Canvas, oil. 63x98 cm Width: 63cm, Height: 98cm, Depth: 63cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9471
£496.58
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Fishermen
sia antion, riga, latvia
Cardboard, tempera. 63x91 cm Width: 63cm, Height: 91cm, Depth: 63cm, Weight: 10kg, Condition: Condition of use, Material: Tempera, ID: 9447
£470.89
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Sunset by the sea
sia antion, riga, latvia
A.Krasti?š, Canvas, oil. 54x107 cm Width: 54cm, Height: 107cm, Depth: 54cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9446
£428.08
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Romantic landscape
sia antion, riga, latvia
Beginning of 20th century. Canvas, oil. 101x70 cm Width: 101cm, Height: 70cm, Depth: 70cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9445
£2,140.41
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Figural composition
sia antion, riga, latvia
Canvas, oil. 80x65 cm Width: 80cm, Height: 65cm, Depth: 65cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9443
£1,806.51
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Winter landscape
sia antion, riga, latvia
Beginning of 20th century. Canvas, oil. 86.5x122 cm Width: 86.5cm, Height: 122cm, Depth: 86.5cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9436
£6,284.25
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Hans van Sant (Active in Haarlem between 1630 and 1653) attributed. Still life with a Romer
sia antion, riga, latvia
Hans van Sant (Active in Haarlem between 1630 and 1653) attributed. Still life with a Romer Oak panel measuring 49 cm by 44 cm Antique frame measuring 67 cm by 62 cm Old restorations To date, we know very little about the life of this painter except that he was active in Haarlem from 1630 to 1653. There is no registration with a Guild, which could suggest that his activity as a painter was not his main activity. In any case, we are discovering him little by little with works that appear on the art market. Our painting, probably painted around 1640, is a still life. On an entablature are placed: a Romer, a pewter jug, a spoon, and a cake on a plate. Note a trace of a monogram on the entablature and a wax seal on the back of the panel. Old restorations. Width: 62cm, Height: 67cm, Depth: 8cm, Weight: 7kg, Condition: Exc., Usual restorations, Material: Oil on wood, ID: 12277
£4,614.73
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17th Century Venetian School. The Death of Lucretia in Front of Her Family
sia antion, riga, latvia
17th Century Venetian School, The Death of Lucretia in Front of Her Family Canvas 52 cm by 39 cm Frame 60 cm by 47 cm This beautiful painting seems to be the representation of Lucretia surrounded in particular by her husband and her father, just before committing her act. We can compare this painting to the hand of Carle Johannes Loth, (1632, 1698) painter of Bavarian origin who lived and worked for many years in Venice The Suicide of Lucretia After being raped by Prince Sextus Tarquinius, one of the sons of King Tarquin the Superb, Lucrera asks her husband and her father to come to her Spurius Lucretius Tricipitinus, father of Lucretia, accompanied by Publius Valerius, and Junius Brutus, her husband arrived together. They found Lucretia sitting in her room, overcome with grief. She began to weep when her family arrived. Her husband asked her if she was ill. “Yes,” she replied, “how can a woman who has lost her honor be well? A man (…) has defiled your bed; violence has been done to me, but my heart has remained pure: my death will furnish proof of this. Take my hand and swear to punish my dishonor. Sextus Tarquinius has done violence to me; he came last night with a weapon, not as a guest but as an enemy, and he left after taking a pleasure from which I am dying and from which he will die too if you are men.” They all promised, one after the other. They sought to assuage her torment, asserting that the culprit was not the victim but the author of the attack; it was the intention and not the act that constituted the fault. “Set yourselves the price he must pay; As for me, although innocent, I do not consider myself free from death. Never will a woman allow herself to survive her dishonor by the example of Lucretia. She plunged a knife she kept hidden under her garment into her heart and fell under the blow, dying. Her husband and her father gave a loud cry. Width: 60cm, Height: 47cm, Depth: 3cm, Weight: 1kg, Condition: Exc., Usual restorations, Material: Canvas, oil, ID: 12281
£3,424.66
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Gilt Framed Original Oil Painting of The East Mill Stirling By James Christie Prowett
georgian antiques, edinburgh, united kingdom
Gilt framed original oil painting of the East Mill Stirling by James Christie Prowett, Scottish artist 1865-1946 label on reverse shows bought from the artist by Wiliam McLaren frame maker and picture dealer May 1910...
£390.00
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Flemish School, Birds Feeding in Nest, Late 18th Century, Oil on Panel
sia antion, riga, latvia
Flemish School, Birds Feeding in Nest, Late 18th Century, Oil on Panel, 62x46 cm. This exquisite painting from the late 18th century, attributed to the Flemish School, captures a serene and naturalistic scene of birds feeding in their nest. Executed in oil on panel, the artwork showcases the meticulous attention to detail and vibrant color palette characteristic of Flemish artists of the period. The composition highlights the tenderness and care of the birds as they tend to their young, rendered with a high degree of realism and precision. The artist’s skillful use of light and shadow, combined with the delicate textures of the birds’ feathers and the surrounding foliage, enhances the lifelike quality of the scene. Width: 65cm, Height: 45cm, Depth: 4cm, Weight: 4kg, Condition: Earlier restoration, Material: Oil on wood, ID: 11537
£1,335.62
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Sailing Boats in Harbor, Oil on Canvas, Mid-20th Century
sia antion, riga, latvia
Sailing Boats in Harbor, Oil on Canvas, Mid-20th Century. In a nice wooden gesso gilded frame, 70 x 61 cm. Signed. Width: 75cm, Height: 65cm, Depth: 10cm, Weight: 8kg, Condition: Good, Material: Oil painting, ID: 11535
£1,335.62
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Aianava
sia antion, riga, latvia
Yekaterina Serebryakova. 34x48 cm. First half of 20th century. Cardboard, oil Width: 34cm, Height: 48cm, Depth: 34cm, Weight: 10kg, Condition: Condition of use, Material: Oil, ID: 9011
£1,147.26
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In the sauna
sia antion, riga, latvia
20th century 30.g. Paper, pastel. 22x32 cm Width: 22cm, Height: 32cm, Depth: 22cm, Weight: 10kg, Condition: Condition of use, Material: Black pencil, watercolor, ID: 9513
£333.90
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Types of Riga population in the 18th 19th century.
sia antion, riga, latvia
48 pcs. watercolors. Author unknown according to Johann Christoph Brotze`s manuscripts. 31.2x26 cm. Width: 31.2cm, Height: 26cm, Depth: 26cm, Weight: 10kg, Condition: Condition of use, Material: Papier-Mache, ID: 9423
£5,136.99
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Charles de la Fosse (1636 ; 1716) Jésus faisant la Cène.
sia antion, riga, latvia
Charles de la Fosse (1636 ; 1716) Jésus faisant la Cène. Huile sur toile et châssis dorigine 82 x 66 cm Cadre 103 cm par 84 cm Je remercie Madame Clémentine Gustin-Gomez davoir confirmé le caractère autographe de ce tableau après un examen direct. Dans son ouvrage, Clémentine Gustin-Gomez cite une peinture mentionnée et disparue qui pourrait, sous toutes réserves, être notre tableau (C. Gustin Gomez, Charles de La FOSSE (1636-1716), Dijon, 2006, PP.31) : Sous le numéro PP. 31 : La Cène située à côté du maître-autel à léglise Saint-Pierre-des-Arcis, à Paris ; saisie à la Révolution ; mentionnée par A. LENOIR, 16 novembre 1793, comme objet entré au Dépôt provisoire des Monuments La Cène La Cène, également connue sous le nom de Cène du Seigneur ou Dernier Repas, commémore le dernier repas de Jésus-Christ avec ses disciples avant sa crucifixion, tel que décrit dans les évangiles du Nouveau Testament de la Bible. Pendant la Cène, Jésus a partagé le pain et le vin avec ses disciples en les identifiant comme son corps et son sang. Cela est considéré comme un symbole du sacrifice de Jésus pour le salut de lhumanité. Dans de nombreuses traditions chrétiennes, la Cène est célébrée régulièrement lors dun service religieux appelé lEucharistie. La Cène est souvent représentée dans lart chrétien. Pour ne citer que lui, Léonard de Vinci, La Cène. Cette représentation emblématique montre Jésus et ses disciples assis à une table pendant le dernier repas. Charles de la Fosse (1636 ; 1716) Charles de La Fosse est né le 15 juin 1636 à Paris et décède le 13 décembre 1716. Il est de bonne heure lélève de Le Brun, avec qui il collabore dans les années 1650 au séminaire de Saint-Sulpice et à lhôtel Lambert. De 1658 à 1663, il séjourne à Rome, à Parme et longuement à Venise, dont il gardera toujours lempreinte. Après son retour à Paris, Le Brun lemploie aux Tuileries, puis au grand appartement de Versailles. La Fosse est reçu à lAcadémie en 1673 (Enlèvement de Proserpine), dont il deviendra directeur en 1707 grâce à lappui dHardouin-Mansart. Il peindra divers tableaux de chevalet pour le Grand Trianon, pour Marly, pour Meudon, Versailles… Les sujets de prédilection de La Fosse étaient souvent dinspiration mythologique ou religieuse, il est aussi un grand décorateur, dont lart séloigne fortement de Le Brun ou dun contemporain comme Jouvenet. Il a réalisé de nombreuses peintures pour des églises et des palais, notamment des fresques. Son style sest développé au fil du temps, passant dun traitement plus classique et rigide à des compositions plus dynamiques et expressives. Il n’intervient pas, ou plus exactement s’impose par l’exemple, dans ce qui a été nommée la querelle des coloris ou encore la querelle entre anciens et modernes qui oppose à partir des années 1670, la tradition du XVIIè, fidèle à l’art de Poussin où l’œuvre peinte se construit sur le dessin, auxdits modernes où l’importance du dessin s’efface au profit du choix et de la mise en oeuvre des couleurs. Ses réalisations l’imposent à tous comme le maître des modernes ouvrant ainsi la voie à la peinture du XVIIIè siècle. Charles de la Fosse est nommé premier peintre du roi en 1685. Width: 103cm, Height: 84cm, Depth: 10cm, Weight: 8kg, Condition: Exc., Usual restorations, Material: Canvas, oil, ID: 12278
£5,522.26
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Victorian Oil Painting Trinity Church Liverpool By Moonlight By Walter Meegan Pupil Grimshaw C189...
cheshire antiques consultant ltd, london, united kingdom
British Victorian Oval Oil Painting Trinity Church Liverpool By Moonlight By Walter Linsley Meegan. Make a big statement, amaze your clients & guest by adding this nocturnal masterpiece to your office & home wall space...
£4,950.00
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Peter II Casteel (1650; 1701) attributed. Animated port scene
sia antion, riga, latvia
Peter II Casteel (1650; 1701) attributed. Animated port scene Canvas formerly relined 42.5 cm by 30 Frame 54 cm by 41.5 Our painting is a little gem of finesse. The artist offers us a view of a port certainly imaginary with a large number of meticulously represented characters. Peter II Casteel (1650; 1701) Peter II Casteels is part of a large family of Flemish painters who worked in the 17th century. He is the son of Peter I and himself had two painter sons Peter III and Frans III CasteelII. He entered the guild of Saint Luke in Antwerp in 16731674 as the son of a master. Married to Elisabeth Bosschaert, he specialized in painting city views. These paintings are often in brown, green and gray tones. Width: 54cm, Height: 41.5cm, Depth: 4cm, Weight: 1kg, Condition: Exc., Usual restorations, Material: Canvas, oil, ID: 12282
£3,099.32
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Philippe Mercier (1689-1760) Attributed. School of Antoine Watteau. Gallant Scene.
sia antion, riga, latvia
Philippe Mercier (1689-1760) attributed. School of Antoine Watteau. Gallant Scene. Relined canvas measuring 81 cm by 54 cm Frame measuring 97 cm by 70 cm The artist presents us with a gallant scene. During a game of Blind Man&39;s Buff, a young man declares his love to a young lady, a Cupid encourages him in this direction. On the right, another young woman with a small dog at her feet seeking her attention. In the background, a very beautiful landscape delicately created in a soft blue atmosphere. Our painting is attributed to Philippe Mercier who, without being a student of Antoine Watteau (he didn&39;t really have one), painted many paintings in the style of Watteau (there are many painters who did it, including Nicolas Lancret, Jean-Baptiste Pater, Pierre Antoine Quillard, Michel Barthélémy Ollivier, Bonaventure de Bar, etc.). Alongside his paintings according to Watteau, he also painted scenes more in the taste of English painting, particularly in the way of painting faces. Philippe Mercier (1689-1760) Philippe Mercier can hardly be considered a French painter. Born in Berlin into a family of French Huguenots, he trained there with Antoine Pesne, who, French by birth, himself spent almost his entire career in Germany. He made a trip to Italy, probably passed through France and settled in London around 1716 and spent the rest of his life there. It is said that he met Watteau during the latter&39;s stay in the English capital around 1720. In any case, Watteau&39;s influence was decisive for Mercier; he became his successor, without strictly speaking being his pupil, and some of Mercier&39;s works could be considered Watteau works: witness The Conjurer in the Louvre, which comes from the La Caze collection, where he bore an attribution to Watteau. In fact, whether in his portraits or in his genre scenes, Mercier accentuates the puppet-like character of Watteau&39;s characters and his art is not unrelated to that of Pietro Longhi, if not even to Hogarth in its somewhat caricatured side. Mercier is poorly represented in French museums; it is in London that one must study him, at the National Gallery and the National Portrait Gallery. His first conversation pieces, or group portraits, so appreciated by British amateurs, date from 1725-26. He then achieved rapid success and in 1729 became Principal Painter to the Prince of Wales, Frederick, one of the propagators of Rococo in England. He then worked for the royal family (The Prince of Wales and his Sisters, 1733, London, NPG) but lost the favor of the Court in 1736. He then settled in York (1739-1751) and survived without difficulty thanks to his portraits (The Burton Family or Interior Scene with the Squirrel, Paris, Louvre) and his gallant, rural or familiar scenes (The Five Senses, United States, Mellon collection; The Music Session, London, Tate Gal.; The Seamstress, id.; The Young Taster, Paris, Louvre). His works show a direct influence of Watteau (The Conjurer, Paris, Louvre). But they retain a very British character. After a short stay in Portugal (1752), Mercier returned to live in London. It is representative of the numerous Franco-English artistic contacts in the first half of the 18th century. Width: 70cm, Height: 97cm, Depth: 6cm, Weight: 7kg, Condition: Exc., Usual restorations, Material: Canvas, oil, ID: 12273
£6,849.32
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Antique Painting Bamburgh Castle Shipwreck Beached Follower John Wilson Carmichael
cheshire antiques consultant ltd, london, united kingdom
Dramatic Victorian British Oil Painting Historic Bamburgh Castle Armstrong Family Home Shipwreck Beached Follower of John Wilson Carmichael. Painted in the inspired style design follower of John Wilson Carmichael. Unsigned British school artist. Subject historical...
£8,500.00
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19th Century Oil Painting Prized Rough Scottish Collie Dog By John Trivett Nettleship
cheshire antiques consultant ltd, london, united kingdom
Victorian Oil Painting Portrait Prized Animal Rough Scottish Collie Dog By John Trivett Nettleship. If you are looking for a painting to that really stands out to display in your private home or corporate office...
£6,000.00
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Large Victorian Oil Painting Napoleon Bonaparte Emperor
cheshire antiques consultant ltd, london, united kingdom
Large 19th Century Oil Painting Military Portrait Napoleon Bonaparte Emperor. Impress your clients & guests with this military portrait masterpiece to display on your office or home wall space. Title “Napoleon Bonaparte” portrait in his...
£12,500.00
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