Banquet Attrib to Van Den Hoecke Religious Oil on Table Old Master 17th Century

1585-1648

Gérard de Lairesse (Liège 1641 - Amsterdam 1711), attributed Circumcision of Christ Oil on canvas, 120 x 102 cm., In frame 138 x 119 cm. The p...

Attributed to Giovanni Battista Merano (Genoa 1632 - Piacenza 1698) Pair of winged cherubs with chains Genoese school, around 1670-80 Oil on canvas, 67 x 57 cm. Framed 89 x 78 cm. This pleasant painting, depicting a pair of winged cherubs, is attributed to Genoese Giovan Battista Merano (Genoa 1632 - Piacenza 1698), trained in Genoa first in the workshop of Giovanni Andrea De Ferrari, and then of Valerio Castello, of whom he became one of the best students. It was probably the latter who advised the student to stay in the then Duchy of Parma to study Correggio and Parmigianino, as he had done in his time. During this first stay in Parma Giovanni Battista worked on the fresco decoration of the oratory...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Tuscan painter active towards the end of the 16th century Portrait of Captain Niccolò Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola. Tuscany, end of the 16th century Oil on canvas, 64 x 47 cm., Framed 89 x 73 cm. The portrait we present to you shows the effigy of a vigorous high-ranking male figure in armor, in the most typical Renaissance pose, half-length and taken in profile, with his face and gaze turned to the side; the serious and intense expression and the facial features evoke at first glance the portraiture of early Florentine mannerism. He is Niccolò III Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola and son of Aldobrandino Orsini, famous leader and captain (or capitano di ventura) who lived between the fifteenth and sixteenth centuries, who served for the state Pontifical in Naples and Florence and above all for the Republic of Venice. Portraiture with these characters, which derives from ancient coinage, was used in the sixteenth century in the sequences of Portraits of Illustrious Men, both in painting and in sculpture. The profile portrait was in fact a genre reserved, according to the Renaissance tradition, for celebrations, presenting those characteristics of imperturbability typical of the military role covered. Our painting is a work created by an author active in Tuscany towards the end of the sixteenth century, adhering to those pictorial styles made famous by the portraitist Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then of Pontormo, known for having created a collection of about 500 portraits of illustrious men, known as the 'Gioviana Series' (now in the Uffizi Gallery); and among these it is possible to identify one dedicated to Niccolò Orsini. Our painting is inspired, in particular, by a print taken from the collection of prints...

Scipione Compagni, or Compagno (Naples, about 1624 - after 1680) Fantastic landscape with the Crucifixion of Christ on Mount Calvary Oil painting on canvas cm. 47 x 62 with antique frame cm. 63 x 78 cm. We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno. It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative. The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works. The painting, characterized by a multitude of characters, shows the scene of the Crucifixion on Mount Calvary, where the three crosses stand out against the background illuminated by a clear light, in an almost otherworldly atmosphere of a mountainous river landscape in front of the city of Jerusalem. in the distance. Watching the dying Christ tortured we can see the three Marys, with the Virgin in red dress and blue cloak, surrounded by other women and soldiers, some of them on horseback, one of whom holds a spear with which he inflicted the wound in the side of Christ. In the foreground, again, numerous men, women and children, who attend the scene of the Crucifixion. The bright and clear colorism of the work in question is typical of Neapolitan painting...

18th century Dutch school (circa 1700.) - Circle of Pieter van Bredael (Antwerp 1629 - 1719) A village square with a market scene oil on canvas, 78 x 108 cm., Framed 94 x 121 cm. Questa affascinante scena popolare con un brulicante mercato nella main piazza è un opera di un artist fiammingo attivo intorno al 1700: si tratta di un interesting spaccato di vita dailyiana di un piccolo villaggio dell’Olanda del Secolo d´Oro. Nella piazza brulicante di gente con sullo sfondo delle tipiche case ed una grande fontana zampillante, possiamo assistere al trambusto che ruota attorno al giorno di mercato, con figure di ogni estrazione sociale indaffarate nelle proprie attività. Anche is difficult to ricondurre la tela alla mano di un autore in particolare, data la predilezione di molti autori a questo genere di ricche composizioni, possiamo però avvicinarne l'esecuzione alla cerchia del pittore di Anversa Pieter van Bredael (Anversa 1629–1719). Van Bredael, che faceva parte di una grande famiglia di pittori, è registrato come allievo nella bottega di David Ryckaert III nel 1640. Dopo viaggi di studio nei Paesi Bassi e in Spagna divenne maestro della Gilda di San Luca ad Anversa nel 1651. Lavorò anche in Italia, soprattutto in Roma, dove venne strongly influenzato dallo stile compositivo del gruppo dei Bamboccianti. Era ben noto per le sue scene di mercato altamente fantasiose che illustravano lo spettro diversificato della vita dailyiana della città. I suoi dipinti di paesaggi sono caratterizzati da accenti di colori vivaci, spesso popolati da molte figure che non possono che evocare lo stile di Jan Brueghel il Vecchio. Vi mostriamo di seguito alcune operates dell’autore, con cui è agevole ravvisare stilistiche analogy e compositiva con il nostro dipinto. - Dorotheum, Vienne, Alte Meister...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

This replica of the last self-portrait of Jean-Baptiste Greuze painted in 1804, executed by his daughter Anna at her father's side and recently rediscovered, provides us with a poignant image of the great artist, represented with panache despite the disillusions of life. 1. Jean-Baptiste Greuze Jean-Baptiste Greuze was the sixth child of a roofer from Tournus and retained a certain rusticity in his behaviour from his provincial childhood, beyond his taste for describing picturesque scenes of the countryside. He initially started training with a little-known painter from Lyon, Charles Grandon, before his genius was recognised in Paris where he became a full-time student of the Académie (of Painting) in 1755. He exhibited his work for the first time at the Salon during the summer of 1755, before leaving on a trip to Italy in the company of Louis Gougenot, abbot of Chezal-Benoît. Upon his return to Paris, Greuze became a prolific painter, participating widely in the Salons held between 1759 and 1765, to which he sent no less than 63 paintings: numerous genre scenes (The Marriage Contract, The Beloved Mother), but also portraits of his family circle, of courtiers and art lovers, or of his colleagues. The Academy closed the doors of the Salons to him in 1767 for not having produced his reception piece within six months of his reception, as was the tradition. He worked actively on this painting (Emperor Severus rebukes Caracalla, his son, for trying to assassinate him ) until the summer of 1769, tackling historical and mythological subjects for the first time. Once this was completed, he was then fully admitted to the Academy, but as a genre painter, and not as an historical painter, which had been one of the greatest humiliations of his life. Greuze then refused any participation in events organised by the Academy or its successor, the Academy of Fine Arts until 1800. Abandoning history painting, he gave a new twist to genre scenes, bringing them closer to history painting, as in this pair of canvases which constitutes some of his masterpieces: The Paternal Curse: The Ungrateful Son and The Paternal Curse: The Punished Son . Married in 1759 to Anne-Gabrielle Babuti, the daughter of a Parisian bookseller, his marriage was unhappy and his wife probably frequently unfaithful. The institution of divorce enabled him to record their separation in 1793, keeping his two daughters Anna-Geneviève, born in April 1762, and Louise-Gabrielle, born in May 1764, with him. Little is known about his daughter Anna except that she was herself a painter and lived with her father until his death. It is likely that most of the paintings she produced up to that date were attributed to her father, whose technique she shared to a great extent, making it extremely difficult to establish an autonomous corpus of her paintings. Greuze died in his studio at the Louvre on March 21st 1805. The attention paid to the expressivity of his characters and the emotional charge they convey enabled Jean-Baptiste Greuze to enjoy immense popularity with the eighteenth-century public, and they still constitute Greuze's true modernity. As the artist said, "I dipped my brush in my heart". Greuze was also an exceptional draughtsman and a portraitist of immense talent and exceptional longevity who painted both the Dauphin (the son of Louis XV and father to Louis XVI) and the young Napoleon Bonaparte. 2. Greuze's self-portraits Greuze was very much influenced by Dutch paintings during all his life. While the source of his inspiration for genre scenes can be found in Gerard Dou...

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

A very fine village scene depicting An English Village with figures, animals, horses, and cart by an Inn, oil on canvas, indistinctly signed,G Lara , lower left The size being 51cm x 31cm whilst overall being 66 cm x 47cm in excellent ready to hang condition Georgina Lara was also known as Edwina Lara ,she was a London painter of rustic farmyard and village scenes. Her work is extremely similar to Edward Masters who also went by the name of William Masters...

Giulio Benso (Genoa, 1592 - 1668) Nineteenth-century shaped and gilded wooden frame The marvellous canvas, a masterpiece by Giulio Benso, a 17th-century Genoese painter, depicts the...

Giuseppe Bonito (Castellammare di Stabia, 1707 - Naples 1789) The Painter's Studio or Allegory of Painting Oil on canvas, cm.40,5 x 64 - with frame cm....