(After) Peter Paul Rubens

Crucifixion - Christ on the Cross - 18th century religious painting

17th century Dutch old master oil seascape, Stormy sea with boats including a Dutch Hoy and a Packet-Boat The present painting is a peaceful, yet very lively, seascape and a beautif...

17th century Flemish old master painting depicting a forest landscape with a majestic oak Alexander Keirincx, born around 1600 in Antwerp, Belgium, was a prominent Flemish landscape...

17th century Flemish old master painting depicting a peaceful countryside scenery of a vast landscape with a fortified town visible in the distance by Lucas Van Uden Lucas Van Uden'...

Huge 17th century Old Master painting "Bacchus celebration" attributed to Niccolo de Simone The Bacchus celebration, also known as Bacchanalia, was...

17th century Flemish old Master painting The present painting is truly a little jewel with its vibrant colours and skilful brushwork. It depicts the Baptism of Christ, a depiction of a tale filled with hope and positivity, it is a very fine example of Malo's talent. We would like to thank Anna Orlando for her assistance in cataloguing this painting. A copy of her entry on this painting will be given to the buyer. She writes about the present painting: The painting illustrated here, unpublished, refers to Vincenzo (Vincent) Malò, a Flemish artist active in Italy and in particular in Genoa in the first half of the seventeenth century, by now well known. The critics who started studying him in the sixties of the last century recognized the initial confusion of our painter with Vincenzo Alemanno (1595-1675); many documents subsequently traced both in the Genoese and Roman archives have partially specified his biographical details, but certainly his identity. Son of a certain Nicola, Vincent trained in Antwerp with David Teniers the Elder and then with Rubens, he was intermittently enrolled in the painters' guild, between 1623 and 1634. It is unlikely that he first arrived in Genoa in 1625 , when the city was at war against the Savoys, and it is entirely probable that his stay in Italy fell between 1634 and the year of his death, documented in Rome in 1644. It were about ten fertile years, also thanks to the lessons from Rubens who had taught him to paint speedily...

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

Moses Strikes Water from the Rock Dutch school, XVII century. Workshop of Jacob de Wet (Haarlem, 1610-1675). Technique: Oil on oak wood panel, composed of 3 horizontal panels. In this evocative work, Moses stands in a cave, gathering the Israelites. There was no water to drink or for their cattle. The people were discontented in the desert. But Moses and Aaron listened to the voice of God. With Aaron’s staff, Moses struck the rock, and water gushed forth abundantly, quenching their thirst. Jacob de Wet’s workshop specializes in subjects from the Old and New Testaments. The recognizable rectangular format, simple compositions, and clear narratives define his style. The interplay of light and shadow, reminiscent of Rembrandt, adds timeless allure. The characters’ costumes, with their large hats and turbans...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

A charming image of cherubs cavorting with sheaths of wheat in a woodland setting. Follower of Jean-Honoré Fragonard Cherubs cavorting before a tree Oil on panel 10¾ x 14 inches exc...

Ascension Day in Venice 17th century Antwerp School Attributed to Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 19.68 in, w. 34.25 in Flemish style frame in ebonized ...