Circle of Jacopo da Empoli, named Jacopo Chimenti (Empoli, 1551-Florence, 1640),

Unknown

Richard Durando-Togo (Buenos Aires, 1910- ?) is a painter of Argentine origin who spent most of his life in Italy and France, in the latter country he settled permanently in 1934. He...

Willem Muys was a Dutch, 18th-century painter of history pieces, portraits and cabinet pieces. Above all, he appears to have been active as a painter of ‘wallpaper’. Until the mid-18th century, ‘wallpaper’ was not painted on paper but on coarsely woven linen. Wealthy citizens had their mansions or country estates adorned with ‘wallpaper’ with landscapes, exotic birds or chinoiseries. Willem Muys mainly painted ‘wallpaper’, which means that few of his works have been preserved. They are hardly represented in public collections. The works of his sons, Nicolaas en Robbert, both painters, are a little less rare. The painting with Rebecca and Eliezer...

Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...

Attentive observer, may I challenge you to find some unusual elements in this panel painting? One detail has to do with the symbolic use of color, the other with a later adjustment of the image. Indeed! The Blessed Virgin is not dressed in her usual sky blue cloak, which refers to her purity, but in a red robe. During the Late Middle Ages and early Renaissance, the Virgin often wore such a red garment to refer to the Passion of Christ. After all, the blessing Christ child with his orb would shed his blood for the redemption of mankind. The second strange element catches the eye when one looks closer at the little Jesus. It appears that he was originally depicted completely naked, but got on a transparent loincloth over time. In the past there were several times when nudity in art was subject to some form of censorship. For example, the supervision of Christian art was strongly encouraged by the Council of Trent (1545-1563). This assembly was dealing with the inner-ecclesiastical reform of the Roman Catholic Church. One of the important theologians who followed the council’s guidelines was Joannes Molanus (1533-1585). He did not consider the nakedness of the Christ Child to be edifying and pointed out that children could be endangered in this way. He may have been referring to the dangers of paedophilia. During the 19th century, puritanism emerged. A famous example of a moral preacher was Pope Pius IX...

Around the middle of the 19th century, the missionary Thomas Savage and the anatomist Jeffries Wyman described a new animal species – the Troglodytes Gorilla – in their Boston Societ...

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...

The Coronation of Venus draws the viewer into a mystical forest where Venus, the goddess of love, is crowned by four angels. The angel of trust, on the left, gazes deeply into the eyes of Venus. Perseverance crowns her from above. Kindness is at her shoulder, and patience rests on her lap eager for guidance. As Venus looks into the distance, there is both joy and melancholy in her mysterious lips. Technical: 114” x 78”. Oil on panel with 24k gold water-gilded frame. Painting and frame produced by artists Justas and Vilius Varpucanskis. This piece utilizes the "rules of craftsmanship" as outlined in Cenino Cennini's l Libro dell'Arte. 21st century contemporary artwork that employs techniques, philosophy, and visual language of the Italian High Renaissance...

The Agony in the Garden. (Christ on the Mount of Olives). Technique: Oil on Panel, 4 wooden boards, not parqueted. Dim. with frame: 78cm x 67cm Dim. without frame: 52 x 62 cm Germa...

Our Lady of Mercy, 8x14 inches. Oil on panel with water-gilded frame. Painting by artist Justas Varpucanskis. This piece utilizes the "rules of cra...

Circle of Amico Aspertini Oil on panel, 59x31 cm. Provenance: Asta Pandolfini 8 marzo 2023 lot. 47. He was born in Bologna to a family of painters (including Giovanni Antonio Asperti...

Provenance: Palazzo Pisani at San Stefano, Venice Mrs. F. Craighead (possibly Mrs. Fay Stinson Craighead, Evansville, Indiana) Sale, Sotheby Parke Bernet, New York, 7 June 1978, lot 310, as Bonifazio Veronese Daniel M. Friedenberg, New York, until 2011; and by descent to: Russell Friedenberg, until 2014 Literature: Giuseppe Pavanello, Gli Inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia, Venice 2006, pp. 132, 140, as no. 10 in Pietro Edwards’ inventory of the Palazzo Pisani: “Giuseppe che fugge dalla moglie di Pitifarre” by Bonifacio Veronese. Philip Cottrell and Peter Humfrey, Bonifacio de’ Pitati, (forthcoming), cat. no. 166h. Antonio Palma is the least well-known member of the illustrious Palma family of Venetian painters of the 16th century. He was the nephew of Jacopo Palma—Palma il Vecchio—and upon his uncle’s death in 1528, he began to work with Palma Vecchio’s principal student and the inheritor of the elder artist’s studio, Bonifazio de’ Pitati (Bonifazio Veronese). Antonio worked with Bonifazio as his principal assistant and right-hand man until Bonifazio’s death in 1553, after which he continued his independent career. He married a niece of his master, and their second son, Jacopo, born in 1648, would achieve fame as Palma il Giovane...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...