Gottfried Libalt

Gottfried Libalt, Still Life with Birds, Fruits and Vegetables Landscape, signed

c. 1650

17th Century Old Master, Figurative and Landscape Painting by Jan Van der Bent So far, little is known about the life and work of Jan van der Bent. He was...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

After Heemskerck, Painting in the style of Heemskerck and Dutch Master, probably painted in the 19th Century.

Circle of Andries Both, Southern Landscape with Cows. Both moved to Italy ( Rome and Venice) where is work was influenced by the warm Italian light. Decorative Painting

Cornelis Schut, atrributed to (1597 - Antwerp - 1655) Mary with Child, St. Elisabeth and John the Baptist en grisaille Oil on wood, 33,5 x 26,5 cm Co...

Hendrick Bloemaert An Allegory of Justitia protecting Innocence from Calumny, Treachery and Deceit signed and dated 'HBloemaert fc. 1638' (HB linked, lower right, on the pedestal) oil on canvas 85.5 x 110.3 cm Provenance H. Hoogers, Nijmegen, 7 June 1816, lot 6, as Cornelis Bloemaert. J. Brolsma, Ede, 1957. with Baer, The Hague, 1960. Collection Hirschberg, The Hague. Anonymous sale; Heerlen, 10 April 1962, lot 121 (as measuring 68 x 108 cm.) Sale of Christie's Amsterdam: Tuesday, November 25, 2014 [Lot 00045] Old Masters, 19th Century and Impressionist Art Literature Marcel Roethlisberger, Abraham Bloemaert...

This painting fits well into the Dutch pictorial production of the Golden century. The composition, built on the harmonious presentation of rich wild game and fine details such as th...

Sybiline's (CAN based) "Afternoon Delight" is an original, handmade oil painting that depicts a Sphynx cat eyeing a pink teacup with milk and plate with a w...

Zoa Ace's "Lavender in a Deer Vase" is an original, handmade oil painting. About the Artist: "My work is figurative and deals primarily with human relatio...

Oil paint on canvas Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform...

Doug Newton’s hyper-real oil paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

Oil on canvas Canvas size: 12 x 14 inches Framed size: 18.5 x 20.5 inches Signed and dated 1876 lower left