Unknown

Study Of A Male, Possibly as St Sebastian, 16th Century

Nude Boy Bathing, early 20th Century French School - signed indistinctly Large early 20th Century French School portrait of a young boy preparing to bath himself, oil on canvas sig...

Sunset Port Landscape, circa 1690 after Claude LORRAIN (1600-1682) Huge 17th/18th Century classical harbour landscape with figures and moored ships at sunset, oil on canvas. Huge and magnificent landscape of an extensive view of the harbour and ancient architecture. Typical of the works of Claude Lorrain. Framed in a 17th Century gilt frame...

Nude Boy In The Forest, 19th Century inscribed to "TUKE" Early 20th Century portrait of a nude boy in a forest, oil on canvas inscribed "Tuke" to the plaque. Sunlit woodland sc...

Icarus, 19th Century follower of William Blake (1757-1827) 19th Century English Romantic School / Pre Raphaelite depiction of Icarus, oil on canvas. Full length scene of Icarus wi...

1950's Mid Century modern English oil portrait of a woman seated in an interior The artist was a portrait and figure painter active during the 1950s-1960s Great use of color and abstract brush strokes...

Well painted 1950's mid-century modern English portrait of a black nude woman seated on a chair. The artist was a portrait and figure painter active during the 1950s-1960s Oils on ...

1950's Mid Century modern oil portrait of a nude woman seated reading in an interior. The artist was a portrait and figure painter active during t...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...