Old Masters Nude Paintings

During a festive bacchanal a big satyr is eating grapes, lying on the ground and surrounded by a large group of putti who, with festoons and vine leaves, fill and populate the pictor...

Semi Nude Man drawing a Dagger Italian School, early 17th century circle of Caravaggio oil on canvas, framed framed: 21 x 17 inches canvas : 18 x 14 i...

An original oil on canvas which is attributed verso to Isaac Mucheron with figure by Vandveldt. The scene depicts a nude in an Arcadia classical landscape with ruins. Fresh colour an...

This stunning French 17th century Old Master oil painting is by Baroque artist Laurent de la Hyre. It was painted circa 1645 and has excellent provenance from Christie's. The painti...

Figurative Sketches Italian School, mid 18th century circle of Pompeo Batoni (1707-1787) charcoal and pencil, heightened with white chalk, unframed...

Circle of Guido Reni (Bologna 1575 - Bologna 1642) - Cupid. 73.5 x 60cm. Antique oil painting on canvas, without frame. - The painting is taken from an original by Guido Reni (Bol...

Italian painter (18th century) - Flagellation. 17 x 15 cm without frame, 21 x 19 cm with frame. Ancient alium painting on copper, in a gilded wooden frame. Condition report: The m...

Provenance: S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son: Mario Ancona, San Francisco; thence by descent to his children: Mario Ancona III and Victoria Ancona, San Francisco, until 1995; thence to: Phyllis Ancona Green, widow of Mario Ancona, Los Angeles (1995-2012) Literature: Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi) Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena. The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

Artist/ School: Italian School, 19th century Title: Classical nude draped in robes with dancing dog. The work looks as though it might have been a ceiling...

Gabriel Revel was born in 1642 in the town of Chateau-Thierry in the province of Champagne. Although the name of his father is unknown, his profession was that of a ‘painter-glazer’ so the young Gabriel would no doubt have learnt the basic skills to become an artist in his father’s studio from an early age. Little is known of Revel’s early career however by 1671 he was working on the decorative schemes at Versailles and Gobelin under Charles le Brun, indicating his skill was great enough to be considered one of the finest artistic talents of the day. In 1683, Gabriel became a member of the Royal Academy after submitting his portraits of François Girardon and Michel Anguier. This success led to a number of commissions outside of Paris in the provinces, especially Dijon which he travelled to regularly until moving there permanently in 1692 after the death of Le Brun. Revel clearly took artistic influence from the fashions of the day using bold colours and fine detail to create highly decorative works. His Group Portrait, dated 1686 in the Portland Art Museum shows the central figure, much like the painting of Cleopatra in question, looking upwards wrapped in a rich blue drapery wearing jewel encrusted clothing. This type of decoration and composition would have had a base in Le Brun’s historical works and would almost certainly have been a style Revel developed whilst working on the decoration at Versailles. Whilst in Dijon, Gabriel painted virtually without competition and further circulated the style of historical painting popularized at Versailles by Le Brun. One of his most significant commissions in Dijon is the ceiling painting...

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

"Cherubs" (A) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

Baron Pierre Narcisse GUERIN (Circle of) 1774-1833 French Venus et Adonis (Venus and Adonis) Oil on canvas Canvas: 53" high x 39 1/2" wide Frame: ...

Artist/ School: Italian School, 17th century Title: The Bathing of Bathsheba Medium: oil painting, on canvas Size: frame: 23 x 19 inches, canvas: 18 x 14 inches Provenanc...

DRAWING OF A NACKED MAN ON LADDER - - by Gennaro Luciano, 1920, with ebony frame. Cm.65x48

DRAWING OF NAKED MAN - Study of light by Gennaro Luciano, Naples, 1920, with ebony frame. Cm.65x48.

Workshop of Bartholomaeus Spranger 16th Century Flemish Leda and the Swan Oil on panel Retelling one of the most legendary Greco-Roman mythological tales, this exceptional oil on...

Academic study of the nude: handsome man with a beard. Nineteenth century. Mixed technique on paper: watercolor and charcoal on slightly gray colored pape...