Landscape Paintings

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

This painting (oil on paper applied to wood panel, 18 x 12, 5 cm) is a valuable example of the production of small-format works, thus aimed at a private audience, which was very comm...

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...

Matthijs Schoevaerdt (1663-1703) Genre scene Oil on canvas, 30 x 43 cm - Framed, 44 x 56 cm The present painting can be traced by stylistic and formal figures to the hand of the F...

The attribution to Jan de Bisschop has been confirmed by the RKD with the following comment: "We base this attribution on the dark washes, the subject represented and the monogram". ...

A Pair of Forest Landscapes with River and Boat in the Foreground Brinckmann Philipp Hieronymus Spire 1709 – 1761 Manheim Old Master Signature: Signed "Ph. Brinckm" bottom lower lef...

Giustino Menescardi (Milan, Italy, c. 1720 - Venice, Italy, after 1779) Title: Ascent of Calvary Medium: Oil on canvas Dimensions: without frame 47 x 36 cm - with frame 57 x 43 cm Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

HUGE OLD MASTER LATE 18th CENTURY CIRCLE of SIR JOSHUA REYNOLDS OIL PAINTING Fine OIL PAINTING Old Master 18th Century R.A artist in a Large ...

17th century oil on panel of Piazza di Spagna. Italian school. Frame later.

Jacob De Heusch (Utrecht, Netherlands, 1657 – Amsterdam, Netherlands, 1701) Title: Pair of Landscapes Medium: Oil on canvas Dimensions: without frame 50 x 8...

The Hunting Party, 17th Century School of Simon KICK (1603-1652) Huge 17th Century Dutch Old Master interior of a hunting party after the hunt, oil on canvas. Excellent quality and condition that would signifcantly enhance with a light clean. Presented in an antique gilt frame. Exceptionally detailed and early interior hunting portrait...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a bucolic landscape, pastoral scene with chariot of good pictorial quality. Small painting adorned wit...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid bucolic landscape with animals and a shepherd, of great pictorial qualit...

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA Giovanni Battista Viola was born in Bologna a...

David Teniers the Younger (1610-1690) Follower of A Peasant Removing a Plaster: The Sense of Touch signed T on the table oil on panel panel size 7,20 x 5,55 inches (18,3 x 14,4 cm)...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

French painter (18th century) - The Bellows. 80.5 x 112.5 cm. Oil on canvas, unframed. Condition report: Lined canvas. Good state of conservation of the painted surface, there are...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

This Flemish Baroque art by David Teniers the Younger’s is a captivating masterpiece, “Tavern Gathering,” painted in 1646. Renowned as the preeminent Flemish genre painter of his tim...

A beautifully detailed late 17th or early 18th century Dutch or Flemish landscape with cows grazing in the water, goats, dogs, and other animals near the water’s edge, under the watchful eye of the herdsmen, on a backdrop of rolling hills and trees. Oil on wood panel, unsigned, and housed in a Rudolph...

Il dipinto rientra nel corpus delle opere dell'importante paesaggista fiammingo Jan Frans Van Bloemen. I Van Bloemen erano una famiglia di artisti, fra essi Jan Frans nato ad Anvers...

Travellers in a Country Landscape circle of Jacques d'Arthois (Flemish 1613-1686) oil on canvas, framed frame: 13.5 x 18.5 inches canvas: 11 x 16 inches provenance: private collectio...

Two oil on panel Old Master landscape paintings by Johannes Jakob Hartmann (Bohemian, 1680-1730) Bohemia, early 18th Century Panel: Height 73c...

Attributed To French Master Jean-Baptiste Pillement (1728 - 1808). Magnificent rococo pair paintings depicting scenes from the life of Europe of the 18th century. Two scenes tell us about the lives of travelers and fishermen of the time. Two frames of the same century perfectly complement these paintings. Paintings made in the technique: Pastel, Bodycolor, chalks, and perhaps gouache on paper or paperboard supported by wooden boards. Gold leaf neoclassical frames of early 1800s (not examined under frames). On the reverse side of the wooden substrate, there is a stamp, "Bundesdenkmalamt Wien", Perhaps Jean-Baptiste Pillement (1728 –1808). Antique old paintings...

Original painting of 1637 owned by the Uffizzi Museum in Florence, Italy. This is a fully restored copy.

Venetian painter (18th century) - Christ led to judgment (preparatory sketch). 48 x 36 cm without frame, 62 x 50.5 cm with frame. Antique oil painting on canvas, in a carved and gi...

Fergus Mór Mac Eirc, Fergus II King Of Scotland (430-501), 17th Century European School - Early Oil On Panel 17th Century European School portrait of Fergus II King of Scotland, oi...

Flemish painting measuring 44 x 30 cm without frame and 53 x 39 cm with frame depicting a landscape with figures, in soft tones and with a strong sense of perspective; elegant, fluid...

Painting, oil on canvas, measuring 55 x 35 cm without frame and 66 x 46 cm with a non-coeval frame, initialled at lower left in an unreadable manner, of the Flemish school. The main...

Thomas Willeboirts Bosschaert Pan plays to the dance of the putti Thomas Willeboirts Bosschaert (1614 Bergen op Zoom - 1654 Antwerp) Pan plays to the dance of the putti Oil sketch Oil on canvas, 35 x 51 cm Provenance: Belgian private collection, ca. 1980 to 2020. The oil sketch shows a flute-playing man with dark curls sitting at the left edge of the picture in a recess draped with cloth. In the lower left corner, a fallen bowl with leaking water can be seen. The right half of the picture shows a circle of five dancing putti, whereby the left putti can be recognized as a satyr due to the goat legs. The background is dominated by a dark mountain landscape. In the sky a rising or setting sun can be guessed. It is possible that the flute player represents Bacchus, the god of wine and ecstasy. This fits with the flute as a symbol of celebration, as well as the bowl of water, which could refer to Bacchus' mother, Lethe. Lethe is a river in the underworld, which at the same time symbolizes "oblivion". Thus, the spilling water bowl is not only a reference to this river, but it also symbolizes "oblivion". Moreover, Bacchus is usually depicted with satyrs in his retinue, which would explain the putto with goat legs. However, the interpretation of the flute player as the god Pan would be possible. He is usually shown with his flute and associated with dance. Moreover, he is native to the mountainous landscape of Arcadia. The present work is an oil sketch, i.e. a preparatory study. This is suggested by the partly unfinished parts, as well as the structure of the picture. Some parts are already almost completely laid out, such as the flute player, while others, for example the horizon and also the figures of the putti, are only sketched in outline. The painting can be attributed to the Baroque painter Thomas Willeboirts Bosschaert. This attribution was also confirmed by Prof. Hans Vlieghe. Bosschaert lived and worked in Antwerp with Peter Paul Rubens and Anthonis van Dyck, among others. He studied with Gerard Seghers...

Image dimensions: 21.5x39 cm. Beautiful plate from the volume "Campi Flegrei" by William Hamilton including 59 plates by Pietro Fabris. This particular plate illustrates the eruptio...

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: Christ Healing a Paralytic Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - with frame 70 x 92 cm Expertise...

Westminster From The South, 18th Century by Joseph FARINGTON (1747-1821) similar to $45,000 Fine large 18th Century London view of Westminster fr...

An oil painting by Adolf Friedrich Harper from 1799. A rare antique painting from the romanticism era. Framed in ornate gold wood frame, signed in lower left corner. Artist: Adol...

Circle of Andries Both, Southern Landscape with Cows. Both moved to Italy ( Rome and Venice) where is work was influenced by the warm Italian light. Decorative Painting

Oil on panel Image size: 5 1/2 x 8 inches (14 x 2o cm) Contemporary hand made frame A charming scene of an English country lane, featuring a group of travellers resting on their journey. Two maids seem deep in discussion while they wait with a gentleman wearing a tricorn hat and fashionable maroon...

Stormy Seas English School, 18th century oil on thick wood panel, unframed panel: 25 x 30 inches provenance: private collection, East Anglia, England condition: very good and sound c...

Seascape with Ships and Figures Oil on canvas Framed: 58 x 65 cm Canvas: 42 x 30 cm This elegant 18th-century seascape captures a tranquil yet dynamic maritime scene, featuring anch...

Provenance: Sotheby’s December 5th 2006, Lot 388 Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and archite...

Francesco Battaglioli (Modena 1710 ca. - Venice post 1796) - Architectural capriccio with characters. 83.5 x 114.5 cm without frame, 98 x 130 cm...

Allegory of summer, personified by Ceres Workshop of Hendrick Van Balen Antwerp School, early 17th century. Oil on copper, Dimensions: h. 52 cm, l. 40cm Antic giltwood frame Framed dimensions: h. 74 cm, l. 60cm Very good condition Our delicately painted work is part of the pictorial tradition that is both allegorical and mythological in vogue in Antwerp, whose leaders are Jan Brueghel the Younger and Hendrick Van Balen. Numerous works emerging from their workshops illustrate mythological subjects, the seasons, the elements, the senses or intertwining the lush landscapes, animals and gods of Olympus. At the heart of a green landscape dominated in its center by a generous apple tree, the beautiful Ceres, partially dressed in a large blue drape, is wearing a crown of ears of wheat, her symbol of the goddess of the earth and harvests. She holds the sickle in her right hand and carries sheaves of wheat. To her right a nymph holds the cornucopia while puttis pick and offer flowers. In the foreground are the summer fruits: figs, cherries, apples and lemons. A squirrel munching on cherries symbolizes toil and foresight, themes that are echoed in the work of the harvesters on the wheat fields in the background. The background is composed of vegetation, on the right a wild rose bush with its branches erect against a tree trunk, in the center of the trees with silvery green foliage. Our painter, a student of Hendrick Van Balen, finds his inspiration in the works of the master such as this nymph in yellow drapery seen from behind, one of the figures which accompanies many of the master's paintings. The elegant gestures, the flesh...The indisputable influence of Jan Brueghel the Younger is revealed in the treatment of trees and flowers, wild roses, tulips as well as in the still life with the squirrel in the foreground. The craze for this type of virtuoso painting where the mythological figures are only a pretext to better illustrate the landscape and plant species surrounding them, then generated orders from all over Europe. Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A student of Adam Van Noort, he entered the guild of Saint-Luc in 1593, later trained in Italy and was Van Dyck's first master. He often painted small characters taken from scenes from the Bible or classical mythology, on paintings in which Josse de Momper...

Oil on canvas Image size: 14 1/4 x 18 inches (36 x 45.7 cm) Period gilt frame In this painting the bright moon, partially obscured by mounting dark clouds, dramatically lights the l...

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...

This painting has been the subject of a study by the art historian Fabrizio Dassie (available on request), confirming its inclusion in Jan van Bunnik’s corpus. In this painting, Ja...

Portrait Of A Zampogna Player, 18th Century Circa 1770 Italian School Oil On Canvas Fine Large 18th Century Italian School portrait of a young gentleman holding a Zampogna, oil o...

Oil on Canvas. Venetian school of the 18th century. Large landscape of pre-Alpine hills, traversed by a stream that reaches the mill in the right foreground, while numerous figures o...

Antique Italian painting from the first half of the 18th century. Oil on canvas artwork depicting a lively genre scene animated by countless costumed figures gathered near a church. ...

Collections: With Martyn Gregory; Judy Egerton, 1984, acquired from the above; By descent to 2014. Exhibited: London, Martyn Gregory, Exhibition of English & Continental Watercolours, 1984, no. 94. London, Lowell Libson...

Landscape with Figures is an original Old Master Painting realized in the Second half of the 16th Century and attributed to the French painter Matthijs Bril (Antwerp, 1550 – Rome, 15...

Giovan Battista Discepoli, also called the "Zoppo from Lugano" [Castagnola (Lugano), Switzerland, 1590 - Lugano, Switzerland, 1654] Title: Coronation of Thorns Medium: Oil on panel D...

18th-Century Pastoral Scene Dutch School, 18th century oil on canvas, framed Framed: 22 x 25.5 inches Canvas : 18.5 x 22 inches Provenance: private collection, France Condition: very...

Antonio Francesco Peruzzini (Ancona, 1643/1646 - Milan, 1724) Rural landscape with river and village center Rural landscape with river and tower (2) Oil on canvas, cm 108 x 62 Expert opinion Prof. Emilio Negro Recognizable in the present pair of paintings is the hand of what Mina Gregori called "the most original and path-breaking landscape painter to emerge in the late seventeenth century," namely Antonio Francesco Peruzzini. Finally identified by Arslan in 1959 as such a "Perugino," author of a St. Sebastian in a private Milanese collection, Peruzzini has in recent times been reevaluated from his former qualification as a mere subordinate of Lissandrino (Alessandro Magnasco), in comparison with whom he turns out to be an excellent coadjutor and original landscape painter. A distant mountainous horizon, of frozen vigor, is proposed in both canvases interspersed with a spindly tree in the background that screws swirlingly to the sky. The anti-academicism and nonconformism that characterized Peruzzini's entire career appear evident here and justify in retrospect his choice of such figurative collaborators as Magnasco and Sebastiano Ricci...

Antique Italian painting from the second half of the 17th century. Painting oil on canvas depicting a particular subject Grazing animals of good pictorial quality in the style of Ros...

The Blacksmiths Forge British artist, late 18th century Circle of Julius Caesar Ibbetson (1759-1817) oil on board, unframed board: 11 x 14.5 inches provenance: private collection, En...

Portrait of a Lady English School, 18th century oil on canvas, unframed canvas : 31 x 25 inches provenance: private collection, UK condition: good and sound condition

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101