Old Masters Landscape Paintings

Diego Rodríguez de Silva y Velázquez (Seville, 1599 - Madrid, 1660) Follower Triumph of Bacchus Oil on canvas 42 x 57 cm. - Framed 74 x 86 cm. Provena...

The Grand Canal, Venice Italian School, late 18th century oil on canvas, framed in period gilt frame framed: 27 x 39 inches painting: 24 x 34 inches provenance: private collection, U...

Exceptional late 18th-century English landscape. Very much in the style of the Dutch 17th-century old masters, this painting has all the quality and delicate brushstrokes of that pe...

Artist: Dutch School, 18th century Title: Shipping in a Calm Estuary, presented in ornate gilt antique frame Medium: oil on wood panel, framed Framed:...

Flemish painter of the 17th century Christ and the Samaritan woman at the well Oil painting on canvas cm. 76 x 104 - In frame cm. 93 x 121 The work is ascribed to a Flemish painter, active in the seventeenth century, and illustrates the episode, taken from the Gospel of John (Jn 4, 1-30), of the dialogue between Christ and a Samaritan woman at Jacob's well, near of the city of Sicar, from which the woman has just drawn water and then placed it in a jug. The theme (one of the most frequently used in Counter-Reformation Christian art) celebrated the main concepts of the Council of Trent: the encounter with the Samaritan woman has the symbolic meaning of the innovation brought by Christ who offers the good news even to those who are not considered pure Jew. Even the place of the event, rather unusual and certainly not religious, according to biblical tradition, was rich in meanings and historical salvific evocations. The Gospel episode is reflected in our canvas with an interesting translation both in terms of composition and pictorial quality, finding its culmination in the graceful figure of the Samaritan woman, with her elegant pose, underlined by the skilful drapery of her clothes and her gestures. . The author broadens the horizon of the scene, showing the glimpse of the city of Sicar, illuminated by the light of the dawn of a new day, and from which the disciples of Christ are returning - in the Gospel account John, Peter and Andrew are named - followed by others and by the inhabitants curious to see the new Messiah in person. The conservation conditions of the work appear very good. The painting is sold together with a nice frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

Circle of Hendrick Van Balen (1575-1632) Early 17th century Antwerp school Oil on copper: h. 26 cm (10.24 in), w. 37 cm (14.57 in) Carved gilt wood frame Framed: h. 33 cm (12.99 in...

Piat Joseph Sauvage (Tournai 1744-1818) - attributable Trompe l'oeil painting ''Putti contending for a heart pierced by an arrow''  or ''Allegory of spring'' Oil on canvas applied ...

Adriaen van Stalbemt (Antwerp, 1580-1662) Allegory of Peace and War, circa 1620-1630 Oil on oak panel: h. 49.5 cm, l. 73.2cm (19.29 x 28.74 in) Giltwood frame with laurel leaves, Lo...

A fine antique oil painting of horses pulling a stagecoach in snow , by John richard Worsdale (1869-1947) The artist portrays this powerful scene with an extensive view, featuring the stagecoach pulled by 4 horses and a village scene behind with buildings and peopla with another coach behind. oil on canvas, signed lower left, housed in a gilt frame. The size of the painting is approx 74 cms x 49 cms, whilst framed size is 90cm x 67cm. The painting is in very good condition, relined, with only some minor craquelure to the skyline, The frame appears original and is also in good condition with only minor age wear. Provenance: The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire. Eric W. Towler was a remarkable man. He was born in 1900 and left school at the age of 12 to work in a Yorkshire pit and through a lifetime of hard work, self-improvement, luck and a refusal to limit his horizons achieved many of his aspirations. As a Yorkshireman through and through, he believed in ‘spending the brass in his pocket’ and over time he was successful enough to acquire enough ‘brass’ to enable his purchase of Glympton Park and furnish it as a traditional country house with all the trappings – in his case collections of antique furniture...

Oil on oval lime wood panel Collection number on the back: 272 We see a herd of goats and their shepherds on the bridge, one of the shepherds is on a horse, the others look at the ...

Piat Joseph Sauvage (Tournai 1744-1818) - attributable Trompe l'oeil painting ''Putti at the Temple of Bacchus'' Oil on canvas applied on panel, en grisaille 56 x 45 cm - Framed 64 ...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child with Saint John the Baptist Surrounded b...

Dutch/English artist Abraham Hulk the Younger (1851-1922) is most known for landscapes of the British countryside. This work is one of a pair (the second work is also available by s...

The Falls at Tivoli attributed to Abraham Teerlink (Dordrecht 1776-1857 Rome) oil on canvas, framed in antique carved wood gilt frame framed: 37 x 48 inches canvas: 29 x 39 inches p...

Merry Making in the Village attributed to the Dutch Golden Age painter, Egbert van Heemskerck, (Dutch 1634–1704) oil painting on wood panel, framed panel: 22 x 30 inches framed: 28 x 36 inches condition: old panel...

Gaspard Dughet, called Gaspard Poussin (Rome 1615 - 1675) - attributable to Wooded landscape of the Roman countryside with the Archangel Raphael and Tobiolo oil painting on canvas second half of the 17th century (cm.) 75 x 98, with frame 91 x 115 On the back old label inscribed "Monte dei Paschi di Siena" The painting has characters clearly linked to the Roman culture of the seventeenth century and, in particular, to the works of Gaspard Dughet, an author who was able to achieve surprising results in describing the Lazio countryside with a unique grace and sensitivity. Brother-in-law of Nicolas Poussin, of whom he was a pupil, Dughet is to be considered among the most important landscape painters of the Roman Baroque, highly sought after and celebrated by the aristocracy, a reference model for the artists of the following generation, such as Crescenzo Onofri, Jan Frans van Bloemen and Andrea Locatelli...

Mythological Figures in Classical Sunset Landscape French School, 17th century oil on canvas, framed framed: 20 x 23.5 painting: 13.5 x 17 inches provenance: private collection, Engl...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

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...

Carlo Grubacs (Perasto 1801 - Venice 1870) - Venice, pair of views of Piazza S. Marco and the Piazzetta towards the Clock Tower. 19 x 24 cm without frame, 25 x 30 cm with frame. An...

A charming rustic scene of a shepherdess herding her stock of cattle, sheep and goats through an Italianate landscape. Follower of Balthazar Pau...

Carlo Grubacs (Perasto 1801 - Venice 1870) - Venice, pair of views of Piazza S. Marco and the Basin towards the Riva degli Schiavoni. 11 x 16 cm without frame, 29.5 x 34.5 cm with f...

The Milk Maid Italian School, 19th century signed with initials oil on canvas, unframed canvas: 9.75 x 14 inches provenance: private collection condition: very good and sound condit...

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...

Ascension Day in Venice 17th century Antwerp School Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 12.8 in, w. 23.03 in (h. 32,5 cm, w. 58,5 c...

Antichità castelbarco SRLS is proud to present: The Last Judgement by Michelangelo Buonarroti (Caprese 1475 - Rome 1564) Roman painter, late 16th - early 17th century (Atelier of M...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

'Dutch Canal' is an original oil painting by an artist in the school or circle of Dutch Golden Age painter Aert van der Neer. Based on the labels on the artwork, the painting has bor...

A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example o...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting h...

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...

RAFFAELLO SANZIO (Urbino, 1483 - Rome, 1520), follower of The Parnassus with Apollo, the Muses and ancient and modern poets 17th-18th century Oil on canvas (123 x 173 cm - framed 137 x 187 cm.) This refined painting, of considerable size and great scenic effect, is a derivation of Raphael Sanzio's famous fresco depicting Mount Parnassus, datable to 1510-1511 and located in the Stanza della Segnatura, one of the four Vatican Rooms. The meaning of the subject was to celebrate humanistic culture, a sort of allegorical representation that saw both the figures of myth and those of the greatest authors of the past side by side in the same space. The scene, enveloped in a lyrical atmosphere, is set on Mount Parnassus, near the fountain Castalia, for Greek mythology the home of the Muses, where ancient and modern poets are depicted. The painting, which rather faithfully reproduces Raphael's piece with perfect harmony and great pictorial quality, is the work of an Italian author active between the 17th and 18th century. We can see the careful balancing of the light, which brings out its chromatic brilliance, and the accentuated sculptural relief that the author gave to the figures, as well as the very faithful rendering of the individual pictorial details of the figures. At the centre of the composition stands the main figure of the god Apollo, crowned with laurel and seated on a rocky boulder intent on playing the lyre from his arm, surrounded by the nine Muses...

This very interesting 18th/19th century Dutch oil painting is attributed to circle or follower of Bernardo Bellotto who was renowned for painting elaborate representations of archite...

This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of...

Winter Scene with Figures Dutch School, 20th century signed 'M. Feyen' signed oil on board, framed in elaborate gilt swept frame framed: 19.5 x 23.5 inches board: 14 x 18 inches prov...

Follower of Paul Bril (Antwerp, c. 1650) - Deer hunting. 17 x 22 cm without frame, 27.5 x 32.5 cm with frame. Oil on copper, in carved and gilded wooden fr...

A delightful painting, oil on paper laid on panel, with beautiful Gainsboresque colouring. This is a fine Old Master circa 1770 landscape in the 18th century Romantic landscape tradi...

This stunning large 19th century landscape oil painting is attributed to follower of Joseph Turner, possible George William Mote. Painted circa 1850 it is a panoramic landscape loo...

An original, very large Dutch Old Master oil on canvas which is attributed to circle of Jan Wijnants and was painted circa 1680. The huge canvas is in good clean condition and depict...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

This superb Dutch Golden Age Old Master landscape oil painting is attributed to Jacob van der Croos. Painted circa 1670 it is an Italianate landscape with figures and their animals i...

Pausing for a Rest English School, circa 1800 the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inches canvas...

Hastings Castle from the beach oil William Webb A fine 19th century oil on canvas painting depicting Hastings Castle from the beach with fishermen and boats housed in a git frame .Signed and dated W.E.WEBB 89 lower right The size of the painting is 30.5 x 60.5cm; 12 x 23 3/4in, whilst overall the size is 44 x 74cm; 17 1/4 x 29in Provenance:Property from a Private Collection In very good ready to hang condition William Webb (BRITISH ACT. 1860-1895) Hastings castle Hastings Castle is a keep and bailey castle ruin situated in the town of Hastings, East Sussex. It overlooks the English Channel, into which large parts of the castle have fallen over the years. The construction of Hastings Castle depicted in the Bayeux Tapestry...

Pastoral Landscape by Peter la Cave (fl. 1789-1816) oil painting on wood panel, framed framed: 12.5 x 15 inches panel: 8 x 10 inches provenance: private ...

This stunning Neo Classical French 19th century landscape oil painting is by acclaimed French artist Jean Victor Bertin. He was also an early proponent of sketching out doors and dir...

Tzar Peter the Great of Russia Arriving in Amsterdam in August 1697 Dutch School, 17th century Circle of Abraham Jansz Storck (c.1635-1708) Dutch Oil on canvas, in a carved giltwood ...

A very atmospheric view of a cottage or outhouse by a pond. The artist has given wonderful texture to the paint to simulate the appearance of the foliage of the trees and vegetation ...

"The Wedding at Cana" Italian School, early 1600's oil painting on canvas, framed canvas: 18 x 40 inches framed: 24 x 46 inches provenance: private collection, France Beautiful qua...

This lovely British Old Master oil painting is by noted Exeter born artist Thomas Mogford of Exeter. Painted in 1834 it is a portrait of a white hunter horse i...

Nicolas Poussin (Les Andelys 1594 - Rome 1665), Circle of Holy Family with Saint Elizabeth and Saint John the Baptist in a landscape Oil painting on canvas 56 x 68 cm. in frame 72 x 85 cm. We present this splendid work that depicts the episode, taken from the Old Testament, of the meeting of the Holy Family with Saint Elizabeth and the little Saint John. Saint Joseph, in the background, is between Saint Elizabeth, sitting on the ground, and the Madonna. The two hold their respective children on their knees, San Giovannino and Jesus playing with a scroll from which you can glimpse the inscription "Ecce Agnus Dei", evoking the words with which John the Baptist, as an adult, will address Christ, recognizing in him the awaited Messiah, the savior of men. The setting is simple but eloquent, intrinsic with solemnity but softened by the strong sentimental understanding between the characters, underlined by their crossed gazes full of great humanity. The arrangement of the figures also emphasizes their intimate relationship, with the Madonna supporting the Child Jesus balanced by the presence of the other characters, arranged concentrically to enhance the importance of each. There is a strong search for delicate formal correspondences, in the rhythm of the stroke and curves, as well as the psychological ones; in fact, looks and gestures are wisely intertwined, in a highly studied complex but with an extremely simple and natural effect, with a serene and calm tone. Also of great effect is the attention paid to the landscape in the background, in which views of the city and various landscape views appear, rich in detail, with hills, perched villages and architectural ruins, which evoke the area surrounding Rome. The work takes up a composition conceived, during his long stay in Rome, by Nicolas Poussin (Les Andelys 1594 - Rome 1665) *, and is an excellent example of how the author was able to amalgamate and merge the ideal of French...

Tommaso Porta (1686 Brescia - Verona 1766) workshop Rural landscape with travelers at sunset Venetian school of the eighteenth century oil on canvas wi...

Wonderfully painted early 19th-century English rural landscape with cattle in a cowshed. Very similar to the work of Edward Williams who was a very well-known English landscape pai...

Venetian vedutism of the eighteenth century Francesco Tironi (Venice, about 1745 - 1797) entourage of View of Venice with the Piazza di San Marco Sec...

Antichità Castelbarco SRLS is proud to present: Charles le Brun (Paris 1619 - 1690) Circle of Alexander the Great seated on throne gives audience to satraps of the empire Oil on canvas (90 x 142 cm. - In frame 114 x 168 cm.) The composition depicts Alexander the Great, seated triumphant on his throne and aware of his own glory as he raises his sceptre high in the air as a sign of power, while giving an audience to the Persian governors of the conquered provinces, dressed in traditional ceremonial robes. With the conquest of the Persian empire and the consequent subjugation of Darius III, Alexander had now marked his rise to ruler of the ancient world, and it became necessary to establish a court administration in which his state could be manifested and by which he could bring the authority of his sovereignty to his empire. We see here Alexander, by now considered the King of Kings, receiving the Persian satraps of the provinces of the kingdom (the satrapies) in audience in his royal tent, displaying all the typical symbols of his power: the throne, the classical crown (tiara), the shirt, the red royal cloak...