Renaissance, Brabant, Fragment of an Altarpiece, St. Martin devides his cloak
Want more images or videos?
Request additional images or videos from the seller
1 of 6
UnknownRenaissance, Brabant, Fragment of an Altarpiece, St. Martin devides his cloakcirca 1540
circa 1540
About the Item
- Creation Year:circa 1540
- Dimensions:Height: 33.47 in (85 cm)Width: 7.88 in (20 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:brussel, BE
- Reference Number:Seller: CE_00691stDibs: LU150929031782
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
1stDibs seller since 2021
13 sales on 1stDibs
Typical response time: 4 hours
More From This SellerView All
- Richard Durando-Togo, Women at the Market, Oil on Canvas, Framed and signed.Located in brussel, BERichard 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...Category
1960s Figurative Paintings
MaterialsOil
$1,291 Sale Price40% Off - 16th C, Biblical, Manner of Joos van Cleve, Madonna with Child, Oil on PanelBy Joos van CleveLocated in brussel, BEAttentive 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...Category
16th Century Baroque Figurative Paintings
MaterialsCanvas, Oil
- 18th C, In the Style of the Classicizing Baroque, Biblical, Rebekka and EliëzerLocated in brussel, BEWillem 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...Category
18th Century Baroque Figurative Paintings
MaterialsCanvas, Oil
- 17th C painting of a peasant couple preparing for Carnival.Flemish School.Located in brussel, BEPreparation 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...Category
17th Century Baroque Figurative Paintings
MaterialsOil, Wood Panel
- 17th C Portrait of Russian Nobleman wearing Ushanka Hat, Flemish Shool.By David Teniers the YoungerLocated in brussel, BEThe 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...Category
17th Century Baroque Portrait Paintings
MaterialsOil, Wood Panel
- 17th C Landscape with Noblewoman and Squire, Dutch Shool, Oil on Copper, FramedLocated in brussel, BEThis charming bucolic landscape bathes in a soft yellow light. A lady on horseback, accompanied by a boy on a donkey, stops near a shepherd. The herd looks at two fishers and quietly...Category
17th Century Land Figurative Paintings
MaterialsOil
You May Also Like
- School of StoicsLocated in Mokena, ILThe School of Stoics brings the viewer into an airy evening discussion at an agora overlooking the Aegean Sea. Amidst the silent water and grained marble, a group of stoics debate logic, reason, and nature. Agreement and disagreement prevail in the noble gestures of their bodies. Soon you see an individual's gaze directed towards you, raising their hand, calling you to join the conversation. Technical: 53” x 39”. Tempera 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 Il Libro dell'Arte. 21st century contemporary artwork that employs techniques, philosophy, and visual language of the Italian High Renaissance...Category
21st Century and Contemporary Renaissance Figurative Paintings
MaterialsGold Leaf
- Coronation of VenusLocated in Mokena, ILThe 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...Category
21st Century and Contemporary Renaissance Figurative Paintings
MaterialsGold Leaf
- Early XVI century. The Agony in the Garden. Southern German school.Located in Firenze, ITThe 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...Category
18th Century and Earlier Northern Renaissance Figurative Paintings
MaterialsOil, Wood, Board
- Our Lady of MercyLocated in Mokena, ILOur Lady of Mercy, 8x14 inches. Oil on panel with water-gilded frame. Painting by artist Justas Varpucanskis. This piece utilizes the "rules of cra...Category
21st Century and Contemporary Renaissance Figurative Paintings
MaterialsGold Leaf
- Fine Old Master Portrait, by Gillis Claeissens, Portrait of a Lady, 1580, BrugesBy Gillis ClaeissensLocated in Greven, DEGillis Claeissens Portrait of a Lady, probably "Anne Joigny-de Pamele" Oil on wood, 35,5 x 28 cm Gillis Claeissens has only recently been rediscovered as an important portrait painter of the 16th century. He received his training in the studio of his father, Pieter I Claeissens. Gillis became a freemaster of the St Luke's Guild in Brussels in 1566 and worked at the court of Alexander Farnese in Brussels between 1589 and 1592. Later he was also court painter to the Archdukes Albert and Isabella. After his return to Bruges, he created portraits of high Bruges society. It was only through the Forgotten Masters exhibition in Bruges in 2018 that the work of Gillis Claeissens was rediscovered. The present painting recently turned up in a private collection and was confirmed as a typical work by Claeissens by Mrs Oosterwijk at the Museum Groeninghe in Bruges. Gillis Claeissens or Egidius Claeissens (Bruges, 1526 – Bruges, 17 December 1605) was a Flemish painter of portraits and altarpieces and a member of a prominent family of artists originating in Bruges. It has only been possible to distinguish Gillis Claeissens' work from that of his father and siblings after scholars discovered a contract with the artist for the painting of a tryptich. It was further discovered in 2015 that he artist can be identified with the Monogrammist G.E.C. These discoveries have allowed to recognise Gillis Claeissens as an important portraitist alongside Pieter Pourbus in 16th century Bruges. Portrait Paintung, Old Master, Bruges School, Bruges Painting...Category
16th Century Northern Renaissance Portrait Paintings
MaterialsOil, Panel
- Circle of Amico Aspertini, The meeting of Anna and GioacchinoLocated in Tricase, ITCircle 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...Category
16th Century Renaissance Figurative Paintings
MaterialsOil, Board