Artist Horemans Paint Oil on canvas Old master 18th Century Flemish Painter Art

1700-1770

Sebastiano Conca (Gaeta 1680 - 1764 Naples) Workshop of The Descent of Aeneas in the Elysian Fields oil on canvas, with frame in lacquered and gilded wood Measurements (cm): canvas ...

Johann Heinrich Schönfeld (Biberach an der Riss, 1609 - Augsburg, 1694) King Ahasuerus rewards Mordecai's loyalty and appoints him prime minister Oil painting on canvas, 90 x 142 cm., In frame 114 x 168 cm. We proudly propose this jewel by Johann Heinrich Schönfeld, one of the most eminent German painters of the Baroque era, depicting a fascinating biblical episode that sees the Persian king Ahasuerus, Aman, his evil prime minister and the virtuous Mordecai as protagonists in the palace of Babylon. who will save the king and the Jewish people. German artist of noble origins, Schönfeld spent a long period of his career in Italy. He was first in Rome in 1633, under the protection of Paolo Giordano II Orsini, where he was influenced by the classicist tendencies of Nicolas Poussin and by the Baroque decorativism of Pietro da Cortona, then (from 1638) in Naples, where he made his own, reinterpreting it, the luminism of Caravaggesque origin by Bernardo Cavallino and Andrea Vaccaro...

Flemish painter of the 18th century - Follower of Jan van der Meer, called Vermeer d'Utrecht (Schoonhoven, verses 1630 - 1692) Courtship scene at the entrance of an inn oil on canva...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with bridge and tower About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

Claude Vignon (Tours, 1593 - Paris, 1670) The Fortune Teller Oil painting on canvas (65 x 84 cm. - In frame 94 x 113 cm.) The work is accompanied by a critical study drawn up by prof. Emilio Negro (Bologna) The subject immortalized in this intriguing painting, called 'Good luck', is a scene of everyday life that we would have seen frequently in the crowded streets of central Rome at the time. The protagonists of the canvas are a young fortune teller and a well-dressed nobleman who lets himself be predicted by reading the hand. The gentleman, who listens curiously to the response and with a hint of malice holds his gold necklace in his hands, is in the meantime robbed by an accomplice of the woman, intent on taking the purse out of his pocket. Although this type of paintings were intended for the decoration of the residences of the Roman aristocrats, who with a hint of self-irony saw themselves in the figure of the unfortunate grullo, were actually harbingers of moralizing messages. Among the many proposals there was certainly the warning towards the desire to know one's destiny without respecting the priority of the divine will that determines it, relying for this on cunning charlatans. It must be said that, although more than four centuries have passed and certain dynamics have naturally changed, this subject appears extremely current. Clearly inspired by the Buona Ventura painted by Caravaggio, the painting is part of that line of scenes taken from the painter's favorite street life and which, given the collector's fortune already at the time, were often reworked by many artists, considered a stimulating theme and full of psychological implications. In particular, the work in question is attributed to the French painter Claude Vignon (Tours 1593 - Paris 1670), presumably to be placed during his years spent in Rome, before his return to Paris, showing the artist's masterful interpretation of the work conceived by Caravaggio. After his training in Paris by Jacob Bunel, one of the most famous masters of the reign of Henry IV, he moved to Rome around 1609-1610, being part of that large community of French painters, including Simon Vouet and Valentin de Boulogne...

A original large French Old Master oil on canvas which is by Millet (1642-1679) and was painted circa 1675. This large canvas is in good clean condition and depicts a wooded landscape with Diana hunting. Housed in a gilded carved 18th century frame with minor losses. A delightful country house old master painting. Provenance. The Fine Art Society 1947. Sotheby London May 22nd 1987 lot 182. Christies South Kensington April 14th 1999 lot 371. Condition. Oil on canvas. Unframed size is 30 inches by 25 inches and in good clean condition. Housed in a gilt gallery frame, framed size is 40 by 35 inches and in good condition. Jean-François Millet, by name Francisque, (baptized April 27, 1642, [Belgium]—buried June 3...

Work on canvas Molded frame in plaster and gilded wood 49 x 39 x 6.5 cm

Work on cardboard Plaster and gilded wood frame 46 x 55.5 x 5 cm

This lovely painting is a British Old Master late 18th century or early 19th-century oil painting by Thomas Barker of Bath. It is stylistically very similar to his other works of the...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Breughel the Elder, Jan the...

Work on wood Golden wooden frame 57 x 44.5 x 5 cm