Vi skickar dig ett e-mail när något som matchar din sökning finns till försäljning.
Netherlandish School mid-17th century, Let the Little Children Come to Me Inscribed in handwriting to the reverse: "v. Gellhorn". Rembrandt's style is clearly recognisable in the figures of the background and the physiognomies, indicating that this work was painted by one of his successors. 122 x 104 cm
This splendid large-scale landscape is a masterwork by Jan Wijnants, one of the most important Dutch landscape painters of the second half of the 17th century. Throughout his career, Wijnants drew inspiration for his landscapes from the dunes near Haarlem, where he was born, and where his early development was influenced by Jacob van Ruisdael and Philips Wouwermans. This painting employs one of the artists favorite compositional structures, with the left side of the canvas built up with dunes an
Vanvitelli's sweeping view of the Ripa Grande in Rome, an early work by the artist, is a beautifully-rendered depiction of the Eternal City's main river port, giving today's viewers a glimpse into daily life at the end of the 17th century. The right side of the painting shows the Via Marmorata, along which marble from the quarries at Carrara was transported, while on the opposite bank are the main ramps of the port, near the Customs House, with the tower of the church of the Santa Maria in Torr
Vasily Vereshchagin (1842-1904)\nThe Portico of a 17th Century Church in Yaroslavl\noil on canvas\n17 x 23 in. (43.1 x 58.4 cm.)\nPainted circa 1894\nВыдающийся ориенталист XIX века, Василий Васильевич Верещагин представляет уникальное явление русского искусства. Художник, сочетавший в себе великий талант, академическую строгость живописной манеры и боль за человечество, оставил неподражаемое творческое наследие. Сегодня, как и в годы его жизни, зритель получает эстетическое и интеллектуальное у
Framed oil on canvas, Portrait of a Man with Armillary Sphere, Continental School 17th century, unsigned, sight: 31.5''H x 38''W. Condition: Canvas is relined; fine craquelure throughout the painting, with heavy cracking in the paint and varnish area along the top edge (approx. 2 in width); blacklight reveals scattered inpainting, with the heaviest area along the top edge and a line of inpainting extending from the upper left corner across the mans forehead; scattered losses to the frame.
This procession of resplendently dressed Turkish officials on horseback exemplifies the fascination in 18th century Europe for the exotic culture of the Islamic world, and the rococo fashion for Turquerie. By the late 17th century, the Turkish military threat to Europe had receded and, by the early 18th century, diplomatic relationships between the Ottoman and European nations increased. In 1721, the visit to Paris of Mehmet Efendi, ambassador of Sultan Ahmet III to the court of Louis XV, was
This beautifully arranged Basket of fruit on a stone ledge by Bartolomeo Cavarozzi is both an important and evocative example of the first generation of Roman still life painting. Completed sometime in the first quarter of the 17th century, it dramatically exemplifies the advances made in the still-life genre in the early seicento. What appears to be a straightforward display of fruit is in fact a highly thought out and studied composition which incorporates the lessons of Caravaggio's groundbre
A Fine and Large Illuminated Ottoman Qur'an, Attributable to Hafiz Osman, Turkey, 17th century, Arabic manuscript on paper, 465 leaves, 11 lines to the page, written in fine Nasta'liq script in black ink, verses separated by segmented gold florets pointed in blue and red, surah headings in white Thuluth script against gold within rectangular panels decorated with polychrome flowers, catch words, marginal devices composed of stellar motifs emanating floral sprays and punched with cintimani motifs
Oil on canvas, framed\nThe present painting is one of the earliest European depictions of the Topkapi Palace, the primary residence of the Ottoman sultans for almost four hundred years (1465-1856). It reflects the ongoing interest of the seventeenth-century European elite in the Ottoman world, and its ruling dynasty. At the left of the present painting can be seen the tip of Kadikoy district, with the sea of Marmara and the Uludag mountains in the background, but it is clear that the artist's ce
A fantastical scene including Venus with Cupid and Neptune in his chariot, oil on canvas, 94 x 132 cm, framed Provenance: sale, Lepke, Berlin, 16 October 1928, lot 182, as Denys van Alsloot; Private collection, 2017; where bought by the current owner The present composition relates to Jacques Callot’s print entitled The Temptation of Saint Anthony. The anonymous artist of the present work has omitted Callot’s Saint Anthony and added Venus with Cupid and Neptune in his chariot.
Pier Francesco di Jacopo Foschi, The payment of the workers in the Lord's vineyard, so-called parable of the workers in the vineyard, Oil on poplar, Circa 1528, On the reverse a marking stamp of the panel maker: Florentine coat of arms / In black ink: parabola du Vigneron D André del Sarto / a seal of the Russian-Baltic Mordwinow family dating from the 18th century, 21 5/8 x 28 in., In a 19th century frame after a 17th century Bologna example (85 x 101 cm)
Attributed to PEDRO DE CAMPROBIN (active 17th Century)\n\nA Roll, a wine Glass, a Plate of Olives, a Bottle, a Knife and a slice of Cheese on a Ledge; and Plums in a wicker Basket with other fruit in a porcelain Dish on a Ledge\n\noil on canvas\n19 x 30in. (48.2 x 76.2cm.) A Pair (2)
Adam and Eve in Paradise oil on canvas, 90 x 113 cm, framed Literature: Musée Départemental de Flandre, Catalogue des Oeuvres Choisies, Cassel 2010, p. 70, no. 14.1 An alternative attribution of the present painting to Jacob Bouttats has been suggested (see: sale, Phillips, London, 15 December 1998, lot 71).
Named for his uncle, a successful sculptor, Aspetti was born in the Italian city of Padua in 1565 to a famous family of founders and then studied with Girolamo Campagna, the most prominent sculptor in Venice, between 1580 and 1600. Aspetti was known for his dramatic maniera style which originated under Campagna’s tutelage and was developed further on his own while he worked on large-scale public commissions in Venice, Padua and Tuscany.\n\nThe present statuette of Mars is quintessentially Aspett
An important and exceptionally rare huanghuali table, kangzhuo\n17th century\nThe rectangular paneled top with beaded edge, above the narrow waist elaborately carved with a continuous foliate lingzhi fungus scroll above the symmetrically-scalloped frieze carved in openwork with a central cross-hatched motif flanked by lingzhi sprays, all raised on superbly and intricately carved cabriole legs boldly carved in openwork with stylised acanthus leaves curled over the ball foot supported on square pa
FOLLOWER OF MICHELANGELO MERISI CALLED CARAVAGGIO (17TH CENTURY) ECCE HOMO Oil on canvas: 35 x 25 1/2 in. (89 x 64 1/2 cm) This work is one of six known compositions of a lost Caravaggio painting. Two are in museums: Kunsthistoriches Museum, Vienna (no. 5665) and the Museum fur Kunst und Kulturgeschichte der Stadt Dortmund, Dortmund; the other three paintings are in private collections. The theme of Ecce Homo, from the Gospel of St. John, was taken up by the Caravaggesque painters during
The Chisholm Trail~oil on canvas~37 x 48 inches~Gerard Curtis Delano(1890-1972)Gerard Curtis Delano was born in Marion, Massachusetts, and traced his roots in America back to the early 17th century. As a young boy, Delano showed talent at drawing cowboys, Indians, horses, and storybook adventures, but his family was not enthusiastic about his ambitions for a career in the arts. They suggested that he consider becoming an architect, which he initially pursued by working as a carpenter's apprentic
Corneille da la Haye, called Corneille de Lyon (The Hague early 17th Century-c. 1574 Lyons)\nPortrait of Charles de la Rochefoucauld, bust-length, in a slashed doublet, black coat and feathered cap\noil on panel\n6¼ x 5½ in. (16 x 14 cm.)
Painted in a lively style and in warm colours, the panel with a double raised border, centred with the Fiery Ascension of the Prophet Elijah, surrounded by fourteen scenes from his life based on the First and Second Book of Kings from the Old Testament: the prophesy of the birth of Elijah; the birth of Elijah with angels wrapping him up and feeding him divine fire; Elijah speaking to God in the desert; Elijah coming to King Ahab; Elijah going to Zarepath where a widow is busy gathering sticks; E
This large and impressive oil depicting Jews praying in a Synagogue in Italy is an exceptional record from one of the greatest centers of Jewish culture. It is one of the only Synagogue interiors dating from the 17th century and is thus a remarkable record of the rich Jewish life led by the Italian Jews during the Early Modern Era. From this flourishing community would come some of the greatest treasures of Judaica known to us today, from extraordinary silver objects produced for Synagogue worsh
Centred with a ribbon-tied central panel depicting flowers within a rectangular panel with exotic birds, and foliage, the border with fruiting vines, the whole with butterflies, dragonflies, fruit and flowers enclosed in a geometric and verde antico border, the whole inlaid with a variety of hardstones including lapis lazuli, jaspers, agates, chalcedonies, giallo antico, breccia coralline and rosso antico, on a later Baroque style carved giltwood base with a gadrooned edge on scrolled legs joine
Frans Francken II (Antwerp 1581-1642) and Studio\nA 17th Century Antwerp gilt-metal mounted ebony cabinet, the rectangular hinged-top fitted to the reverse with a mirror flanked by two painted panels, above two panelled doors revealing an architectural interior of ten drawers arranged around a central cupboard with a columned door enclosing further drawers, each decorated with silk, gold and silver-metal thread stumpwork panels, the plinth with two further drawers; the drawers and door panels al
Of characteristic form, the curving toprail continuing to the armrests with curled back ends, the back corner posts continuing to the back legs below the rectangular seat, the gently curved back splat carved with a ruyi head in low relief, the front apron carved with two interlocking leafy stems, the legs connected to a footrest and stretchers, the wood of a rich honey-brown tone with an attractive patina
Ambrosius Bosschaert the Younger was the eldest son of Ambrosius Bosschaert the Elder, one of the forerunners of the still life genre in Northern Europe in the early 17th century. Adhering to a tradition established by his father, Ambrosius the Younger was known for his beautiful botanical still lifes that showcased flowers to their best advantage. Ambrosius the Youngers skill is unmistakable in this lively composition of roses, fire tulips, and wild flowers, which was likely completed early i
Dutch School, 17th Century Style\n\nStill Life With Butterfly, Peaches, Cherries and Chestnut\nSigned and dated ".A:Coorte.1685" l.r.\nOil on canvas, 16 x 13 3/4 in. (40.6 x 34.9 cm), framed.\nCondition: Lined, retouched, craquelure.
THE MOTHER OF GOD OF KAZAN RUSSIAN (MOSCOW, WORKSHOP OF THE ARMOURY CHAMBER), 17TH CENTURY\nThe Mother of God in the popular type of the Kazanskaya, Christ shown half-length, upright and frontal, his right hand raised in blessing, their expressive faces delicately executed with soft earthly tones, their garments rendered in deep colours, highlighted with dense chrysography, the maphorion of the Mother with an elaborate hem imitating embroidered foliate and stylised designs, and a gold band with
Mirabello Cavalori, La presentazione di Maria al tempio, Oil on panel, Circa 1550/60, Inscribed in black pen on the reverse (historical - presumably 17th century): Giorgione da Castel Franco / Seratti / two red seals (not identified) / on the reverse in black India ink: 66 / In pencil: 65, Rosso Fiorentino / In purple grease pencil: 7, 16 7/8 x 16 7/8 in., Panel limed on the reverse
A rare and talented artist in 17th-century Bologna, Elisabetta Sirani achieved international fame during her lifetime, while her sudden and mysterious death at just twenty-seven only added to her renown in her native city. Painted a year before she died, this dynamic and colorful composition of Venus and Cupid is a splendid example of the artist's later work. The elegant and sumptuous Venus looks out at the viewer, her right hand gesturing toward the playful cupid, who has shot two arrows at th
Along with his contemporary, Giuseppe Recco, Ruoppolo was one of the most important figures in Neapolitan still life painting in the second half of the 17th century. Writing in the mid-18th century, the art historian and biographer Bernardo De Dominici wrote a detailed notizia on his life, describing Ruoppolo as one of the great still life painters in Naples.1 His paintings were collected by the aristocracy and wealthy citizens of that city, and several of his works were recorded in the collec
Francesco Fieravino, il Maltese (fl. Rome 1610-1660)\nGrapes, apples, a pomegranate and other fruit with sweetmeats on a wooden table draped with an Anatolian 17th-century carpet\ninscribed 'Vox de Sann' (center left)\noil on canvas\n38 x 51 in. (96.5 x 129.5 cm.)
The young Bacchus, oil on panel, 62 x 48 cm, framed Provenance: Michel van Gelder (1864–1929) Collection, Château Zeecrabbe, Uccle, Brussels; sale, Christie’s, London, 14 May 1971, lot 92 (as Jacob Jordaens); sale, Dorotheum, Vienna, 27 May 1974, lot 83 (as Jan Lievens); Private collection, Vienna Exhibited: Brussels, Musées Royaux des Beaux-Arts, Jacob Jordaens, 1928 The present painting formerly bore alternative attributions to Jacob Jordaens and Jan Lievens. Bernhard Schnackenburg, to whom w
Kazanskaya Mother of God, probably a private icon of Tsarina Evdokia, Moscow, second quarter 17th century, Depicted wearing a large jewelled Imperial crown, on an olive green ground, the raised border painted with twelve saints, six within medallions of varicolored grounds\n38.5 by 32.5cm, 15 1/8 by 12 3/4 in.