Unknown

Baroque mythological painter - 18th century figure painting - Deucalion Flood

c.1700

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop - Allegory of America. 76.5 x 64.5 cm unframed, 83 x 69.5 cm with frame. Antique oil painting on canvas, in a lacqu...

Italian painter (18th century) - Chrono. 90.5 x 106 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good state of conservation of t...

Tuscan Master (17th century) - Raising of the Cross. 52 x 45.5 cm without frame, 69 x 62.5 cm with frame. Antique oil painting on panel, in a carved, gild...

Pauwels Franck, known as Paolo Fiammingo (Antwerp c. 1540 - Venice 1596) - Parable of the Devil Sowing Wealth. 93.5 x 88.5 cm unframed, 105 x 102 cm framed. Oil on canvas, wooden f...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

French School of the 18th century Mythology : Bacchanalia Oil on canvas Unsigned On canvas 43 x 34 cm Presented in a gilded carved wooden frame 58 x 49 cm Very good condition, smal...

Jacques Blanchard (Paris, 1600 – Paris, 1638) and workshop Thetis in Hephaestus' forge (Hephaestus gives Thetis the weapons he forged for Achilles) Oil on canvas applied to pan...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...