Baroque Art

Provenance: Suida-Manning Collection, New York Private Collection Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31. Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972 Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill. Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese. Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop) John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese. Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino. The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...

This artwork titled "Nevada" is an original lithograph by noted French artist Shan Merry, born 1935. It is hand signed and numbered 97/450 in pencil by the artist. The image size is 15.5 x 14 inches, framed is 32.25 x 29 inches. It is beautifully framed in a custom gold frame, with fabric matting and gold color bevel. it is in excellent condition. Shan-Merry began her artistic studies in 1957 at the Ecole Nationale Superieure des Arts et Metier, in France. By 1972 she was working as a professional fine artist and began exhibiting regularly in prominent art galleries. By the 1990’s her works were included in prestigious international collections and exhibitions in Belgium, Germany, Japan and the United States. She was also a designer for Hermes...

Famous for his paintings of animals, landscapes and still lifes, Giacomo (sometimes spelled Jacopo) Nani was an Italian painter of the Baroque period. Presumably born in Naples, Nani studied under Gasparo López and Andrea Belvedere whose style Nani often imitated. Nani became famous while working in the court of Charles of Bourbon, future Charles III of Spain (1716 – 1788). His work is featured in the collections of museums worldwide, especially his hometown museum in Naples. An excellent example of his work, this painting is signed in the lower left corner "Giacomo Nani." This painting depicts a hunting dog...

Artist: George Virtue (English, 1684-1756) Title: "King Richard II" Portfolio: The Heads of the Kings of England, Proper for Mr. Rapin's History *Issued unsigned, though signed by Virtue in the plate (printed signature) lower right Year: 1736 Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown, London? UK Publisher: James, John, and Paul Knapton, London, UK Reference: Brunet No. IV.1115; Bryan V. No. 294 Framing: Not framed, but matted with 100% cotton rag matting from Holland Matted size: 19.5" x 15.25" Image size: 11.25" x 7.25" Condition: In excellent condition Notes: Comes from Virtue's 1736 "The Heads of the Kings of England, Proper for Mr. Rapin's History" portfolio of approximately 63 engravings. Richard II (1367-1400), also known as Richard of Bordeaux, was King of England from 1377 until he was deposed in 1399. Richard's father, Edward, Prince of Wales, died in 1376, leaving Richard as heir apparent to his grandfather, King Edward III...

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right....

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA Giovanni Battista Viola was born in Bologna a...

Provenance: Private Collection, Argentina. A work of great delicacy and intimacy, this small painting on copper by Pietro Bardellino treats a subject which grew in popularity during the Baroque period: Saint Joseph and the Christ child...

Similar in style to Guido Reni's late masterpiece "The Baptism of Christ," circa 1623, this painting by a follower of Guido Reni captures Reni's unique balance of strictly discipline...

Provenance: Possibly Antonio Amici Moretti, Rome, 1690 Roy Clyde Gardner, Union, Mississippi, 1970s until 2004; by whom given to: Mississippi Band of Choctaw Indians, 2004-2010 Lit...

Beautiful modern still life done in the baroque style: staged fruit, glass with reflections of light from an unseen source, a cup of tea and a crystal server filled with a variety of...

Woodcut after Peter Paul Rubens (Siegen 1577-1640 Antwerp) Reference: Le Blanc 6 Hollstein 6 II/III Notes: 1. A very fine impression of the 2nd state (of three) of this majo...

Woodcut after Peter Paul Rubens (Siegen 1577 - 1640 Antwerp) 337 x 451 mm.; 13 1/4 x 17 3/4 inches Provenance: The Metropolitan Museum of Art, New York, Duplicate stamp on verso...

Vittore Ghislandi, called Fra Galgario Provenance: Robert L. and Bertina Suida Manning, New York, ca. 1966-1996 Private Collection, USA Exhibited: “Eighteenth Century European Pai...

Katrina Revenaugh Piccolo Giardino Numero 4 Archival Pigment Ink, Acrylic, Spray Paint and Gold Leaf on Birch Panel Year: 2024 Size: 6 x 6 x 1.75 inches (round) Signed: On Verso COA ...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Self-Portrait Wearing a Soft Cap (The Three Mustaches). Year: 1878 (of original 1634), Medium: Heliogravure, Size: 2...

Venetian master (17th century) - Venus and Cupid. 68.5 x 51 cm without frame, 87.5 x 71 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. Conditi...

Grande nature morte aux fruits, huile sur toile XXe signée T. Alexander Deux petits manques de matière peu visible, vernis à refaire. (vernis blanchi) Encadrement en bois doré Dimens...

Sassoferrato (Giovanni Battista Salvi) 1609-1685 Italian Madonna Addolorata Oil on canvas Celebrated Italian artist Sassoferrato and his moving religious imagery are the epitome ...

Giovanni Bernardo Carbone (Genoa 1614 – Genoa 1683) - Portrait of a gentleman. 200 x 142 cm without frame, 212 x 154 cm with frame. Antique oil painting on canvas, in a wooden fram...

This group of 7 prints (mezzotint on paper, 59 x 75 cm) represents the Seven Sacraments (Baptism, Ordination, Confirmation, Penance, Eucharist, Marriage, Extreme Unction). At the top of every sheet there is the title inside a cartouche, while at the bottom there is written "N. Poussin in." (or "Poussin pinxit") and “George Kilian sculps et excud Aug. Vind”. The group derivates from the series by the French artist Nicholas Poussin...

The portrait represents a man, estimated to be 60 years of age, standing turned to the viewer's right, looking at the viewer with a commanding expression. He has a moustache and beard and wears a high fur cap. He wears a brown mantle over a whitish shirt and, over it, a heavy gold chain...

A rare and important Italian alabaster bust sculpture of Jesus Christ, C. 1860 A modeled bust of Holy Christ wearing a crown of thorns, exceptional...

Artist/ School: Italian School, 18th century Title: Figures/ Travellers walking through a Baroque landscape admiring the ancient classical, Roman ru...

Andreas Amrhein The Prince of Cards 3D-Construction on Hahnemühle Velvet Year: 2022 Signed by hand Edition 25 Size: 22.4 × 16.3 on 24.0 × 16.9 inches COA provided Ref.: 924802-977 -------------------------- Andreas Amrhein is a german male artist born in Marburg (GERMANY) in 1963. Andreas Amrhein’s first exhibition was Arbeiten auf Papier „Blau“ at Galerie Michael Schultz in Berlin in 1994, and the most recent exhibition was 12. Kunstpreis Wesseling - Zeit aus den Fugen at Kunstverein Wesseling e.V. in Wesseling in 2021. Andreas Amrhein is most frequently exhibited in Germany, but also had exhibitions in Austria...

Andreas Amrhein The Parrot King 3D-Construction on Hahnemühle Velvet Year: 2022 Signed by hand Edition 25 Size: 22.4 × 16.3 on 24.0 × 16.9 inches COA provided Ref.: 924802-973 -------------------------- Andreas Amrhein is a german male artist born in Marburg (GERMANY) in 1963. Andreas Amrhein’s first exhibition was Arbeiten auf Papier „Blau“ at Galerie Michael Schultz in Berlin in 1994, and the most recent exhibition was 12. Kunstpreis Wesseling - Zeit aus den Fugen at Kunstverein Wesseling e.V. in Wesseling in 2021. Andreas Amrhein is most frequently exhibited in Germany, but also had exhibitions in Austria...

Signed and numbered from the edition of 30. This is one of four prints in a series of prints based on the sixteenth century engraver Hendrick Goltzius' "The Four Disgracers". The tex...

Collaboration Painting with Karyn Mannix. This tongue in cheek painting of three roosters and a penis aptly named FOUR COCKS. Framed in an authentic (heav...

Defeat of the Turkish Cavalry (1st State) From: The Life of Ferdinando de'Medici Engraving 224 x 300 mm.; 8 7/8 x 11 7/8 inches Reference: Lieure No. 154 Meaume No. 541 Ru...