18th Century and Earlier Figurative Paintings

A Superb pair of oval portraits with full provenance. Portrait of John Wood Esq of Hollin Hall, Yorkshire; Portrait of Francis Wood. Circa 1710. Oils on canvas:29 x 24 in. Frame: 37...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Portrait of an Aristocratic Gentleman in his landscape, circa 1730's Standing, three quarter length, wearing a dark russet coat and holding a book and a cane, circle of Jacopo Amigoni (Italian 1682-1752) oil on canvas, unframed 50 x 40 inches Condition: old lining; retouching, principally towards the edges and in the background; the canvas with slight unevenness where the lining is not secured at upper right. Provenance: private collection, England Jacopo Amigoni (ca. 1685 – September 1752), also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand. He was born in Naples. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi...

Violin Player in Tavern 18th century French School oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

Belleza (The Art of Beauty) Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed...

Figure being Comforted (Job?) circle of Willem Drost (Dutch 1633-1659) *See notes below ink and wash drawing on paper (Arms of Amsterdam watermarked) Dutc...

'Africa' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Provenance: Alfred (1883-1961) and Hermine Stiassni (1889-1962), Brno, Czech Republic, by 1925; thence London, 1938-1940; thence Los Angeles, 1940-1962; thence by descent to: Susanne Stiassni Martin and Leonard Martin, San Francisco, until 2005; thence by descent to: Private Collection, California Exhibited: Künstlerhaus, Brünn (Brno), 1925, as by Ribera. “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. Literature: Alte Meister...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

'Sicilia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches c...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

Portrait of Mr. Gilbert (believed to be the founder of 'Gilberts Charity, Bridgwater, Somerset) English School artist, late 17th/ early 18th century oil...

17th Century Spanish Colonial School (Likely to be School of Cuzco in Peru) - St. Joseph with the Christ Child carrying a basket, housed in its original carved, hardwood frame. • Painted in oil on canvas (laid on to fiberboard), ca.58 x 48 cm • Original frame, ca. 64 x 54 cm • Visible image ca. 52.5 x 42.5 cm Centuries ago this religious painting, depicting St. Joseph with his flowering staff and the Christ Child carrying a basket, was originally displayed in a church or chapel in 17th Century colonial...

'India' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches con...

This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illum...

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 ...

Concordia Maritale (harmonious marriage) Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches o...

'Napoli' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

French School, 18th century oil on board, framed framed: 11 x 8.5 inches board: 9.5 x 7 inches provenance: private collection, UK condition: the painting requires restoration as has ...

'Mgnaminia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

Rest of the Holy Family during the Flight into Egypt Workshop of Pieter Coecke Van Aelst (1502-1550) 16th century Flemish school Oil on oak panel, Dimensions : panel: h. 34.25 in., ...

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

Nude Figures in Wooded Landscape French School, 17th century oil on wood panel, framed framed: 25.5 x 21.5 inches board: 20 x 15.5 inches provenance: private collection, France condi...

Circle of Godfrey Kneller (German, 1646 – 1723) Amelie Sophia von Wendt as Aphrodite in the judgement of Paris, later as King George II’s Courtesan, bestowed the title of the Countess of Yarmouth. oil on canvas 34.1/4 x 41 in. (87 x 104 cm.) Provenance: Historically at Bruggen Castle...

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later frame. Presented by Joseph Dasta Antiques...

The Virgin & Child Flemish School, circa 1600 circle of Cornelis van Cleve (Flemish c. 1520-1614), oil painting on canvas canvas: 37 x 30 inches provenance: private collection, Paris...

Work on canvas Golden wooden frame 64 x 82.5 x 7 cm

Marc Baets (Flemish 1720 - 1785), follower of Pastoral Scene oil painting on canvas, framed framed: 23 x 29 inches canvas : 17 x 23 inches provenance: private collection, England c...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

Flemish School, 17th Century Mary Magdalene oil on copper 17th century plate dimensions 23 x 17 cm frame 27 x 22 cm Restored by professional art conservator 2022. Provenance: ...

17th century old master painting "Silenus feasting", likely studio of Sir Anthony Van Dyck Born in Antwerp in 1599, Anthony Van Dyck entered the studio of Rubens (1577 - 1640) at the age of nineteen. Quickly, the master perceives the talents of the young prodigy and makes him his first assistant. Van Dyck, for his part, has a particular admiration for the man whose name is known throughout Europe. In 1619, he was inspired by a drunken Silenus by Rubens, produced one or two years earlier for a composition on the eponymous theme. This work, now in the Dresden Museum, appears to be the first version of our painting. That work has an illustrious provenance; it was recorded in the private collection of Leopold Wilhelm (Archduke of Austria) in 1662, in 1722 it was bought by the famous German painter Antoine Pesne for the King of Saxony in Dresden (Staatliche Kunstsammlungen Dresden - Gemäldegalerie Alte Meister, Dresden, inventory number 1017). From 1945 until 1955 it was on display at the Pushkin Museum in Moskou, after having been taken by Russia after the Second World War. It was then returned to the Staatliche Kunstsammlungen Dresden where it is still on display. Our painting is of a fine quality and has been painted by a skilled and confident hand. It displays some slight variations in the composition when compared to the original; the legs of Silenus are smoother and less hairy, more humanoid than satyresque. There might also be a pentimento visible at the level of the legs where one observes traces of hair on and under the material. This area can be compared to that of a canvas by Van Dyck kept in Brussels, of a still drunk Silenus whose animal legs are formally treated in the same way as the ones in our composition. Furthermore, the skirt of the figure to the far left has a purplish-red colour in our work, whereas in the first version it appears to be white. There also appear to be differences in the sky, firstly the clouds are shaped slightly different, the sky in our painting has a more vivid colour and there is also a golden hue of a sunset visible to the far left. This treatment of the background appears close to that of a Saint Rosalie, now kept at the Metropolitan Museum in New York and dated 1625, which might offer a reference for dating our painting. In the evanescent aspect, as non finito of its figures, it is interesting to compare our Silenus to a Saint Sebastian, conserved in the Escorial Museum in Madrid. Also, the theme remains rather curious. According to Barnes and Porter, Rubens, like Van Dyck after him, was partly inspired by Book XI of Ovid's Metamorphoses, but a second literary or pictorial source remains unknown (1). For the original composition, Stephan Maaser, art historian, establishes a correspondence between the position of Silenus, referring to that of a Christ at the moment of the Lamentation or the Descent from the Cross (2); the female characters on the left and the male on the right refer more to Mary Magdalene and Saint John than to the Phrygians or the members of a bacchanalian procession. Finally, note that Silenus is not usually a faun. The success of the composition at the time of its public reception and its engraving by Franciscus van der Steen really contributed to the dissemination of the work. At the same time, it testifies to the intense activity of the painter and his studio in Antwerp, before he left to work at the English court. About Silenus: In greek mythology, Silenus was the tutor and foster-father of the wine god Dionysos, who was entrusted to his care by Hermes after his birth from the thigh of Zeus. The young god was raised by Silenus and nursed by the Nysiad nymphs in a cave on Mount Nysa. Silenus was, in essence, the spirit of the treading dance of the wine-press, his name being derived from the words seiô, "to move to and fro," and lênos, "the wine-trough." Once, when Dionysos was travelling through Phrygia, Seilenos became lost and was captured by King Midas. The king treated him hospitably and as a reward Dionysos granted him his golden touch. The artists biography: Born in Antwerp on 22 March 1599, Anthony van Dyck was the seventh child of Frans van Dyck, a wealthy silk merchant, and Maria Cuypers, who was renowned for her embroidery skills. In 1609, when he was ten years old, his parents apprenticed the precocious youth to Hendrik van Balen (1575-1632), a painter of small cabinet pictures and dean of the city's Saint Luke's Guild. Although the length of Van Dyck's stay with Van Balen is not known, it probably lasted three to four years. Van Dyck registered as a master in the Antwerp Saint Luke's Guild on 11 February 1618, by which time he was already in demand as a portrait painter (see the NGA painting, Portrait of a Flemish Lady...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

There are so many details to fall in love with in this 18th-century painting depicting an Italianate landscape, for example, the delicately painted figures having a conversation and ...

Joseph van Bredael 1688-1739 Flemish The Adoration of the Magi Oil on copper Painted on copper and exhibiting an exquisite luminosity, this exceptional painting...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

'Cain et Abel' Circle of Franois Devosge (1732-1811) French pencil drawing with watercolour wash on paper size: 12.25 x 9 inches private collection, France The painting is in overall...

Christian Reder (Leipzig 1656 - Rome 1729) - The departure of the soldiers from the fort. 57.5 x 108.5 cm without frame, 89 x 122 cm with frame. Antique oil painting on canvas, in ...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

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...

Guglielmo Caccia said the Moncalvo (Montabone, 1568 - Moncalvo, 1625) Saint Francis of Assisi comforted by an angel Oil on canvas, cm 96 x 73 - (wi...

English School, 18th century oil painting on canvas, framed framed: 53 x 45 inches canvas: 48 x 40 inches provenance: private collection, England condition: overall very presentable...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

This fresh sanguine sheet presents various studies placed next to each other in no apparent order. Two of the feet studies are preparatory to the first major commission received by the young Baldassare Franceschini, shortly after his installation in Florence, the frescoes for the Medici Fastes. This cycle was executed between 1636 and 1646 for the Villa La Petraia, a Medici villa on the outskirts of Florence, which allows us to date this sheet to the artist's youth. 1. The Medici Fastes, the first major commission for a young artist Born in Volterra in 1611, the town from which he took his nickname, Baldassare Franceschini apprenticed with his father, a sculptor of alabaster, one of his home town's specialities, and studied with Cosimo Daddi (1540-1630), a local artist. The Marquis Inghirami, who spotted his talent, sent him to the workshop of Matteo Rosselli (1578 - 1650) in Florence, which was also attended by Francesco Furini (1603 - 1646). In 1636, Lorenzo de' Medici, the youngest son of Ferdinand Ier and Christine of Lorraine, chose the 25-year-old artist, again on the advice of the Marquis Inghirami, to decorate with frescoes the loggias of the inner courtyard of the Villa La Petraia, which he had just inherited on the death of his mother. The project lasted about ten years and included ten scenes placed symmetrically in two loggias on either side of the courtyard: four main scenes and six placed above the doors, each to the glory of a member of the Medici family. This decoration was his major secular project, but Volterrano also executed several religious frescoes and a few easel paintings, often with less success. Among the religious commissions, we can cite the dome of the Colloredo chapel dedicated to Saint Lucy...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a young boy holding his pet squirrel Oil on canvas Canvas Size - 30 x 25 in Provenance Sale, Sotheby's New York, Old Master...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

Pieter Gysels, also known as Peeter Gijsels, was a renowned Flemish painter who lived from 1621 to 1690/91. He was known for his landscapes, which often depicted idyllic scenes from nature, and his works are highly sought after by Old Master collectors. We are proud to offer a newly discovered pair of landscapes attributed to him; this one called "A Wooded Landscape With Riders" This stunning painting captures the beauty of a serene summer day in the countryside. In the foreground, we see a couple riding on horsebacks, enjoying the peaceful surroundings. The horses seems to be trotting gently, and the riders are relaxed, taking in the natural splendour around them. In the distance, we see several other figures, perhaps farmers or peasants, doing their daily tasks. We also see a small stream flowing through the landscape, with several small houses. And in the background, we see a beautiful wooded area with tall trees reaching up towards the sky. The attention to detail in this painting is truly remarkable. Gysels use of vibrant colours evoke the warmth and beauty and he skillfully captured the play of light on the landscape, creating a sense of depth and atmosphere. The detailing of the cottages, the colors, the use of big-leafed plants in the foreground, and the figure types are typical of his signature style. "A Wooded Landscape With Riders" is painted on copper, which gives the painting a unique luminosity and depth. The use of copper as a support for paintings was popular in the seventeenth century. We also have one more painting called "Wooded Landscape With an Elegant Company...

Pieter Gysels, also known as Peeter Gijsels, was a renowned Flemish painter who lived from 1621 to 1690/91. He was known for his landscapes, which often depicted idyllic scenes from nature, and his works are highly sought after by Old Master collectors. We are proud to offer a newly discovered pair of landscapes attributed to him; this one called "A Wooded Landscape With Riders" This stunning painting captures the beauty of a serene summer day in the countryside. In the foreground, we see a couple riding on horsebacks, enjoying the peaceful surroundings. The horses seems to be trotting gently, and the riders are relaxed, taking in the natural splendour around them. In the distance, we see several other figures, perhaps farmers or peasants, doing their daily tasks. We also see a small stream flowing through the landscape, with several small houses. And in the background, we see a beautiful wooded area with tall trees reaching up towards the sky. The attention to detail in this painting is truly remarkable. Gysels use of vibrant colours evoke the warmth and beauty and he skillfully captured the play of light on the landscape, creating a sense of depth and atmosphere. The detailing of the cottages, the colors, the use of big-leafed plants in the foreground, and the figure types are typical of his signature style. "A Wooded Landscape With Riders" is painted on copper, which gives the painting a unique luminosity and depth. The use of copper as a support for paintings was popular in the seventeenth century. We also have one more painting called "Wooded Landscape With an Elegant Company...