16th Century Art

Etching on handmade cream laid paper with a deckle edge, and an elaborate and large watermark of a crowned figure with a harp, and letters A S, 11 3/4 x 8 inches (298 x 204 mm); shee...

The Nativity of Jesus Flemish school, late 16th/early 17th century Gerard David (Oudewater, c. 1460 - Bruges, 1523) Follower of Oil on copper 30 x 25 cm. - In frame 47 x 42 c...

Hiroshi Sugimoto The Necklace of Jane Seymour, Henry VIII's Third Wife, 2000 Limited Edition Signed pendant of silver-plated brass, imitation pearls, Swarovski glass stones, handmade...

Painting oil on canvas, measuring 82 x 112 cm without frame and 100 x 130 cm with contemporary frame, depicting Christ in the house of Mary and Magdalene by the painter Francesco Bas...

Circle of Raphael (Urbino, 1483 - 1520, Rome) The Virgin and Child with Saint Anne and the Infant Saint John (after the Madonna of Divine Love) Oil on canvas (relined), 72 × 58 cm ...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) Holy Family with the Young St John The Baptist and St Elizabeth Oil on canvas A Royal Coat of Arms lower left Canvas size...

Sacred Conversation: Madonna with child with St. John with idealized landscape background with mountains. Early XVI century. Oil on wooden panel of Venetian conifers. Marco Bello, attributed. (Venezia, 1470 - 1523, Udine), pupil and follower of Giovanni Bellini. Venetian school. Madonna with child with St. John with idealized landscape background with mountains. Dimentions: 57cm x 68cm x 6cm Beautiful late Renaissance frame...

A large & important German Renaissance oil painting, an allegory on good sexual health, by Christoph Schwarz (1545-1592), "A Warning Against Venereal Disease", circa 1580. Christoph...

This exquisite early 16th-century Italian panel captures one of Christianity’s most cherished moments - the Adoration of the Magi. Painted around 1530, this panel belongs to a moment...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

This remarkable, deeply evocative fragment is a hand-carved piece of religious statuary from 16th Century France. It depicts the torso of a serene figure, likely a Saint or Archangel...

This exquisite oil painting on wood, created by an unknown Flemish artist in 1594, depicts a young girl seated in a chair. The artwork is in very good condition, though some modest r...

Watermark: Lion and Star (Lieure 38) References: Lieure No. 505 Notes: An early impression of the only state of this major work. According to Lieure (Jacques Callot: Catalogue de l...

The Finding of Baby Moses Fontainebleau School, circa 1580's period oil painting on thick wood (walnut wood) panel, framed framed: 32.5 x 27 inches wood: 25 x 30 inches provenance: p...

Date: After Durer from the original copper plate engraved in 1513 Medium: Engraving on 19th century paper Knight, Death and the Devil (1513) is one of Dürer...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Andreani, Andrea (Italian, about 1558–1610), after Andrea Mantegna (Italian, 1431-1506) Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and...

Circle of Leonardo da Vinci (Vinci, 1452 – 1519, Clos-Lucé) First half of the 16th century Study of a Bearded Man in Profile, Facing Right Red chalk on paper 8 × 6 cm Unsigned Provenance: Private collection This delicate drawing belongs to the Lombard school and was created by an artist working under the influence of Leonardo da Vinci, very likely within his close circle. The profile recalls the Apostle at the far left of The Last Supper, and may even derive directly from Leonardo’s own compositional sketches for the mural (Gallerie dell’Accademia, Venice, inv. 254). While Leonardo’s version carries a profound religious and political message, this sheet reveals a more naturalistic interpretation. The precise outlines and the controlled hatching distinguish it from the master’s hand, yet the subtle modeling of the face in red chalk shows clear echoes of Leonardo’s refined technique. Comparable examples are preserved in the Royal Collection Trust, Windsor, including The Head of an Old Man Crowned with a Wreath of Laurels (recto) and The Head of an Old Man in Profile, both originally from Francesco Melzi...

Madonna and Child Workshop of Andrea del Sarto, pseudonym of Andrea d'Agnolo di Francesco (Florence 1486 - 1530) Attributable to Jacopo di Giovanni di Francesco, known as Jacone (...

16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting...

A rare & important Italian Renaissance tempera on parchment painting, Giuseppe Cesari Il Cavalier d'Arpino (Giuseppe Cesari, 1568-1640), the painting c...

Gillis Mostaert Hulst 1534 – 1598 Antwerp Flemish Painter 'Adoration of the Shepherds' Medium: oil on panel Dimensions: image size 38,5 x 46,5 cm, frame size 54 x 62 cm Provenance...

English School ‘En Deuil Blanc’ Portrait of Mary, Queen of Scots (1542-87) Oil-on-panel 14 x 10 in. c.1600 Provenance Christie’s, South Kensington, November, 2011; Private collecti...

Resurrection of Christ Attributed to the Master of the Prodigal Son / Jan Mandyn (1500-1560) Oil on panel, 73 x 56 cm (without frame), 81 x 63 cm (with frame) The work was exa...

ABRAHAM ORTELIUS (1527 - 1598) AMERICAE SIVE NOVI ORBIS, NOVA DESCRIPTIO, 1587 (1603) (Van Den Broecke 11, Burden 64; Schwartz & Ehrenberg 69) Engraving. A very good, well printed...

Italian School, 16th Century Studies of Figures Pen and ink on paper, 23 × 24 cm Unsigned A finely executed sheet presenting vigorous figure studies, drawn with assured pen strok...

Map Traiectvm ad Mosam is original etching realized by Georg Braun and Franz Hogengerg between the end of the 16th and the first years of the 17th Century. Dimension: 40 x 54 The ...

Pen and brownish black ink on grayish-cream laid paper, 6 1/2 x 8 inches (165 x 175 mm), irregular hexagonal sheet with margins. Some archival repairs along the top sheet edge, scatt...

We would like to thank Professor Sergio Marinelli for confirming the authenticity of this (unsigned) painting by Felice Brusasorci. His study of the artwork (in Italian), which inspi...

STUDIO OF RAFFAELLO SANZIO, called RAPHAEL (Urbino 1483 – Rome 1520) Title The Holy Family with the Infant Saint John the Baptist Medium Pen and brown ink, brown wash, over black ch...

Portrait of an Elizabethan Gentleman in a Black Doublet c.1595 Manner of Hieronimo Custodis (died c.1593) Oil on copper Unsigned This exquisite oil on copper portrait, painted around 430 years ago, is a splendid survival from the Elizabethan era - the golden age in England’s history, when Queen Elizabeth I was on the throne. It is a time that is sandwiched between two golden ages of English renaissance culture, the reigns of Henry VIII and Charles I. This period produced a style of painting quite unlike that anywhere else in Europe and one that deserves serious assessment. Just a couple of years after our portrait was painted, English painting developed on another course, driven mainly by the artists Marcus Gheeraerts the Younger and Isaac Oliver; they depicted a new mood that was pervading Elizabethan and Jacobean society, which was that of romantic melancholy. Elizabethan painting...

Italian sculptor (16th century) - Saint Robert. 54 x 30 x h 112 cm. Full-length figure in carved, lacquered, and painted wood. Saint Robert is depicted standing in full figure, id...

Circa. 1578, Engraving "Siculus" - from the portfolio “The Stables of Don John of Austria” (Equile Austriaci Caroli V)" After Jan van der Straet (Stradanus). An Old Master print from the series of 43 engravings depicting horses of different breeds from the stables of John of Austria (1547-1578), son of Emperor Charles V. Each print shows a horse in the foreground on a hilltop overlooking a distant landscape. Each bears it's title breed, centered upper edge, with two columns of brief explanatory Latin texts in the lower margins. Published by Philips Galle...

Temptation of Saint Anthony an etching in the manner of Hendrik Goltzius. Goltzius was born near Viersen in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the ...

Oil on walnut board. The painting follows early 16th-century Tuscan models (e.g., the pictorial mode of Domenico Puligo), but is of slightly later production and weaker hand, from "p...

Andreani, Andrea, after Andrea Mantegna The Triumph of Caesar: Plate IV of IX 1599. Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and thr...

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53...

Attributed to Francesco Mazza, called "Il Parmigianino" (1503-1540) – "Adoration of the Magi" Medium: Oil on canvas Dimensions: 88 x 134 cm (unframed), 205 x 149 cm (framed) Proven...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

Portrait Hercule-François, Duke of Alençon and of Anjou (1555–1584), 16th Century School of FRANCOIS CLOUET (1510-1572) 16th Century French court portrait of Hercules-Francois, Duk...

Oil on Board. Venetian school of the mid-16th century. The crucified Christ in the center of the scene is surrounded by four saints identifiable by their iconographic signs: on the l...

Lodewijk Toeput, known as Ludovico Pozzoserrato (Antwerp or Mechelen c. 1550 - Treviso 1604 or 1605) - Meeting of Ladies and Gentlemen in a Landscape. 44 x 49 cm unframed, 63 x 68 c...

Chiaroscuro woodcut on cream laid paper with a partial anchor in a circle watermark, printed from two blocks in black and olive-green, 10 3/4 x 8 3...

Inscribed on the verso: EE 27/10

This is an engraving of a tomb monument rubbing that has been highlighted with gold color on a dark grey to black background. The rubbing is of a brass plaque on a stone slab. It has...

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...

Marinus van Reymerswaele c.1490 – c.1546 Dutch The Tax Collectors 16th century Oil on wood panel Marinus van Reymerswaele stands among the greatest and most beloved artists of 16th-century Antwerp. Entitled The Tax Collectors, this oil on board original exudes the technical skill and life-like vibrancy for which the artist is renowned. In a quiet interior scene, two men sit at a green table covered in coins, jewels, and empty moneybags. While the man in the red turban...

This is a framed 16th century hand-colored copperplate map of northern Italy entitled "Veronae Urbis Territorium a Bernardo Bragnolo Descriptium" by Abraham Ortelius from his atlas "Theatrum Orbis Terrarum", which was the first modern atlas of the world, with the first volume published in 1570. This map was part of a subsequent volume, published in Antwerp in 1584. It was based on an earlier map by Bernardo Brognoli. This beautiful map of northern Italy is focussed on Verona and its environs, including Mantua. Lake Garda and the South Tyrol mountains are prominently depicted. There is a very large striking cartouche in the upper left and a decorative distance scale in the lower right. This striking hand-colored map of northern Italy is presented in a gold-colored wood frame and an olive green-colored mat. It is glazed with UV conservation glass. All mounting materials used are archival. The frame measures 21.5" high by 28" wide by 0.75" deep. There is a central vertical fold, as issued, with slight separation of the lower portion of the fold. There are faint spots in the upper and right margins, but the map is otherwise in very good condition. Abraham Ortelius (also known as Ortels, Orthellius, and Wortels) (1527-1598) was a Dutch cartographer, geographer, and cosmographer. He began his career as a map colorist. In 1547 he entered the Antwerp guild of St Luke as an "illuminator of maps". He had an affinity for business from an early age and most of his journeys before 1560, were for business. He was a dealer in antiques, coins, maps, and books. 
His business income allowed him to acquire an extensive collection of medals, coins, and antiques, as well as a large library of books...

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

Virgin with Child, studio of Giovanni Pietro Rizzoli, known as Giampietrino (active Milan 1495-1550) Not signed Oil on poplar panel, h. 63 cm (24.8 in), w. 49 cm (19.29 in) Important...

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

After Raphael Conestabile Madonna 1483 - 1520 Oil on poplar panel Image size: 8 x 8 inches (20.5 x 20.5 cm) Original ornate hand carved gilt frame Conestabile Madonna Made in compos...

Jan van Scorel (Schoorl, The Netherlands, 1495 – Utrecht, The Netherlands, 1562) Title: Portrait of a member of the brotherhood of Jerusalem Medium: Oil on panel Dimension: without ...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Albrecht Dürer 1471-1528 Christ on the Mount of Olives. Woodcut 5 1/8 x4 inches, (framed 12 x 10 ¼ inches ) thread margins. Richly-inked and dark impression with strong contras...

Attributed to Pietro Montanini (1626–1689, Perugia) "Landscape with the Baptism of Christ" Oil on canvas Framed: 86 x 44 cm Canvas: 48 x 33 cm No signatured This exquisite Baroque l...

LARGE ITALIAN RENAISSANCE MARBLE CAPITAL Florence, 15th/16th Century marble 38 x 47 x 47 cm 15 x 18 1/2 x 18 1/2 in

Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. -  In frame 74 x 58 cm.) The work depicts Saint John...

Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...