16th Century Art

A 16th century image from the state-sponsored military manual that revolutionized European warfare tactics. Leiden: 1599. Engraving on laid paper with a partial chalice and grapes ...

An important 16th-century Italian painting. A tempera-on-panel artwork of remarkable pictorial quality, featuring monumental original carved and gilded woodwork. The altarpiece depic...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

The Vegetable Seller Circle of Joachim Beuckelaer (Flemish 1534-1574) Oil on cradled oak panel Framed: 35 x 47 inches Canvas: 29 x 41 inches Provenance: Private collection, France. C...

Attributed to Francesco Codino (c.1590-c.1631) Still life of flowers on a ledge Oil on panel Painting Size - 15 1/2 x 14 in Framed Size - 22 x 20 in Provenance With Jocelyn Fielding...

Small and fine lead sculpture from the Renaissance period, Italy, Florence, 16th century. It depicts a young woman, richly attired, with the palm of martyrdom and a hand over her he...

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...

Circle of Domenico Ubaldini known as il Puligo (Florence 1492 - 1527) - Christ Carrying the Cross with Simon of Cyrene. 56 x 44 cm (without frame) - 65 x 55 cm (with frame). Oil on...

This is a 16th century original hand-colored copperplate engraved map of Frankfort, Germany entitled "Francenbergum, vel ut alij Francoburgum Hassiae Opp" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1595. This is an English translation of an excerpt from the original text in the atlas: "Frankenberg or, according to others, Francoburgum, a town in Hesse. Charlemagne vested the town of Frankenberg with many freedoms and privileges, which it still enjoys to this day, and on account of its valiant and victorious soldiers awarded a signet, upon which there formerly appeared a golden castle with a tower, together with the letter F and a golden crown. Frankenberg, seen here from the northeast, lies on a hill above the River Eder. The hillside is covered with fields neatly separated by bushes and fences. Soaring above the town is the massive Liebfrauenkirche, which was modelled on St Elizabeth's church in Marburg. The New Town was founded in 1335 at the foot of the hill (right) and merged with the Old Town as late as 1556. Frankenberg was founded by Conrad of Thuringia in 1233/34 to prevent the archbishops of Mainz from expanding their sphere of influence...

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...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

Provenance (for the drawing) : Lodewijk Houthakker (his mark lower right - Lugt 3893) Manuel Canovas (his mark lower right and on reverse - Lugt 4098) James Faber London (from a labe...

Holy Family with the Infant Saint John – Bolognese School, Second Half of the 16th Century Oil on wooden panel with two horizontal braces on the reverse Bolognese School, second hal...

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 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 extraordinary late 16th-century panel by an artist working in the circle of Spanish painter Miguel Barroso (1538-1590) depicts the Virgin Mary seated upon a raised throne. She g...

Workshop of Jacopo Bassano (Bassano del Grappa c. 1510 - 1592) - The Entombment of Christ. 65.5 x 50.5 cm (unframed) - 83 x 70 cm (framed). Oil on canvas, in a carved and gilded...

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...

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...

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...

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...

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...

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...

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 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...

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...

Florentine school of the sixteenth century Cristofano di Papi dell'Altissimo (Florence 1525 – 1605) workshop Portrait of Dante Alighieri (Florence 1265 - Ravenna 1321) Oil o...

Carved stone capital. Italy, 16th-17th century. 30 x 25 x h 25 cm. Entirely carved in stone, some breaks and losses. The lawful provenance of the object has been verified and conf...

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 ...

Wonderful black and white aquatint showing an antique view of Munchen, capital of Bavaria. From the collection by Braun G. and Hogenberg F., "Civitates Orbis Terrarum", Cologne, T. ...

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...

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...

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...

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...

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...

Workshop of Jacopo Palma il Giovane (Venice 1548 – Venice 1628) - The Baptism of Christ. 64 x 49.5 cm. Oil on canvas, unframed (not signed). The composition depicts the Baptism ...

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...

Holy Family with Saint John the Baptist, Circle of Orazio Samacchini, Bolognese School, 16th Century Oil on panel Not signed 88 x 74 cm unframed 100 x 85 cm framed Antique carved w...

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...

Etching on paper realized by an unknown italian master in the early 16th century after Battista Franco. Not signed. Full margins, very good condition.

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...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

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...

Venetian sculptor (late 16th century) - Pair of flag-bearing lions. 40 x 30 x h 75 cm. Full figures in carved, painted and gilded wood. The two lions, conceived as a mirrored pair...

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...

Cristoforo (Cristofano) Roncalli (Pomarance, Italy, 1552 - Rome, Italy, 1626) Title: Saint Catherine of Siena chooses the crown of thorns Medium: Oil on wood Dimensions: without frame 101.5 x 59.5 cm - with frame 120 x 76 cm Shaped, carved and sculpted wooden cassetta frame, partly gilded and partly ebonized wood Not signed Expertise by Marco Ciampolini and Alessandro Nesi, art historians The marvellous scene that opens before our eyes is that of Christ's apparition to Saint Catherine of Siena; she must choose between a golden crown, the symbol of earthly royalty, and a crown of thorns, the symbol of virtuous Christian sacrifice. Catherine does not hesitate to choose the crown of thorns, her life in imitation of...

Inscribed on the verso: EE 27/10

Benedetto Caliari (Verona 1538 – 1598 Venice) Portrait of a Woman Pen and brown ink, brown ink wash, heightened with white gouache, on prepared brown paper 22.4 × 30 cm Provenance...

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...

Maarten de Vos (Antwerp, 1532–1603) workshop Christ Expelled from the Temple in Jerusalem (Or The Stoning of Christ) Oil on canvas 109 x 86 cm. Framed: 121 x 97 cm. Anyone pa...

Crucifixion, studio of the Master of the Half-Figures (Antwerp, active 1500-1550), not signed Antwerp School, mid-16th century Oil on oak panel , h. 88 cm, w. 59 cm Original frame, framed: h. 98 cm, w. 68 cm A rare example of Antwerp painting from the first half of the 16th century, our Crucifixion captivates as much by the quality of its expansive river landscape as by the delicacy of its figures and the brilliance of its palette. The richness of the colors, the balance between devotion and narrative, and the subtlety of the atmospheric effects make it a particularly representative work of the artistic refinement developed in the workshop of the Master of the Half-Figures. Through its remarkable synthesis of the world-landscape inherited from Patinir and the expressive gentleness characteristic of the Master of the Half-Figures, this composition stands out as a particularly accomplished example of the Antwerp Flemish Renaissance. Our painting of the Crucifixion is organized around the central figure of Christ nailed to a high cross erected atop Golgotha. His slender, pale body stands out against a blue-green sky that lightens towards the horizon, creating an atmospheric depth characteristic of Flemish painting of this period. The bowed head, encircled by the crown of thorns, expresses agony in a restrained pose. The white loincloth, tied at the front according to a recurring motif in the work of the Master of the Half-Figures, has one end drawn between the legs before billowing outwards in a movement lifted by the wind, subtly animating Christ's silhouette. At the foot of the cross, a skull and a few bones evoke Adam and the redemption of humanity through Christ's sacrifice. To the left stands the Virgin Mary, enveloped in a flowing blue-green mantle whose heavy folds accentuate her contemplative posture. Her pale face, framed by a white veil, expresses silent sorrow. Kneeling at the center of the composition, Mary Magdalene embraces the cross in a gesture of fervent devotion, while to the right, Saint John, clad in a richly textured red cloak, gazes up at Christ, his hands folded across his chest. Contrary to the iconography typically found in 16th-century Antwerp workshops, he appears here as a bearded, middle-aged man. This relatively rare characteristic, however, is found in several works by the Master of the Half-Figures. The Virgin's face displays the typical characteristics of the Master of Half-Figures' repertoire : a high forehead, full cheeks, a rounded chin, and a gentle expression tinged with restrained melancholy. This youthful, feminine physiognomy is found in numerous depictions of Virgins, Magdalenes, and other saints from his workshop. The figures are also distinguished by their smooth complexions, elegant proportions, and attention to the richness of the fabrics, favoring formal refinement over dramatic expressiveness. The background unfolds according to the world-landscape formula inherited from Joachim Patinir. A vast panorama, blending a fortified city, estuary, winding paths, rocky outcrops, and bluish hills, stretches behind the sacred figures. At the heart of this lively river landscape, a small port, quays, and several boats also appear, their silhouettes punctuating the waterway and testifying to the attention paid by Antwerp painters to the commercial and maritime activities that ensured the city's prosperity. The composition is structured by a succession of narrative planes that invite the viewer's eye to move through the image as a continuous story, a technique characteristic of Antwerp painting in the first half of the 16th century. Behind the main scene appears the episode of the Carrying of the Cross, depicted by a group of soldiers and horsemen, with Golgotha rising on the mountain to the left, while to the right, in a grotto carved into the rocks, unfolds the Entombment of Christ. This multifaceted narrative, integrated into the landscape, enriches the meditative dimension of the work while highlighting its kinship with the inventions of Patinir. The attribution to the workshop of the Master of the Half-Figures seems all the more plausible given that several art historians, notably Robert Koch and Walter Gibson...

Studio of Adriaen Isenbrandt 1510 - 1551 The Virgin and Child Enthroned Oil on oak panel, wax seal verso Image size: 10 3/4 x 8 inches (27 x 20.5 cm) Contemporary style frame (image below) POA Provenance Collection of Mrs Marianne Hudson Mary, holding Jesus in her arms, is centrally positioned against a gold detailed architectural backdrop, reflecting the traditional iconography of the enthroned Virgin and Child. This composition suggests the theme of “Maestà” or “Majesty,” emphasising the figures religious significance. In the painting from the studio of Adriaen Isenbrandt, the artist masterfully infuses the scene with rich symbolism and hidden meanings that reflect the cultural and religious context of the period. The infant Christ, seated on the Virgin Mary’s lap, is draped in a delicate, translucent white garment that symbolises his purity. In his hand, he clutches a piece of coral, a multifaceted symbol representing immortality, youth, and health. Notably, coral was also a common teething tool during that era, adding another layer of contemporary relevance. A scarlet-headed blackbird, native to South America, perches gracefully on Christ’s outstretched finger. This bird is a potent symbol of creation and protection, enhancing the divine narrative of the scene. Mary, with a tender and loving gesture, caresses Christ’s back while gazing adoringly at her son, underscoring her role as the nurturing mother of God. Mary is centrally positioned within an architectural alcove, which subtly suggests a heavenly halo without explicitly depicting one. The alcove’s niches, traditionally used to emphasise the importance of sculptures, further highlight her significance. She is adorned in a voluminous red gown, with the undulating folds of the fabric accentuated by white highlights. The red colour of her dress symbolises maternal qualities, while the iridescent blue undercoat, visible in certain areas, signifies sanctity and purity due to its rarity and expense at the time. Moreover, Mary is depicted as the epitome of contemporary Medieval...

Extraordinary in its beauty and rarity, this early 16th-century German painting of an illuminated manuscript showcases a masterful trompe l’oeil effect. Unequivocally among the finest of only 17 known works of its kind, the oil on panel is both rare and captivating. With illusory pages that appear to leap from the panel, this virtuosic painting of a hand-colored book suspended into space is exceptional. Created more than four centuries ago, the composition evokes a strong sense of realism. Executed by a masterful Northern Renaissance artist of the German school, the illuminated manuscript pictured shows the astonishing splendor of the historical books of the period. Sumptuously decorated with scrolling floral motifs in the margins, the manuscript appears before a deep black background, heightening the trompe l’oeil illusion of depth through its strong contrast and the naturalistic shadows falling across the fluttering pages. It has been said that of the 17 known versions of this composition, ours stands alone in its precision in both perspective and the play of light and shadow. The visible folios feature choral arrangements and other texts, indicating the pictured manuscript likely served a role in the celebration of church services. In fact, other examples of manuscript paintings...

Etching by Georg Braun and Frans Hogenberg, realized in 1575 and belonging to the Suite "Civitates Orbis Terrarum". The first volume of the Civitates Orbis Terrarum was published in ...

Giovanni Balducci, known as Il Cosci (Florence, 1560 – Naples, after 1631) Madonna in Glory Surrounded by Angels Oil on panel (48 x 37 cm. - In frame 68 x 57 cm.) We are offer...

Icon Of Christ With Latin Inscriptions "I am The Way, The Trust & The Life", 16th Century School of The Master Of The Emerald Icons (1580-1610) 16th Century Italian Old Master ...

Circle of Guglielmo Della Porta (Porlezza, 1515 circa – Rome 1577) CRISTO MORTO, Italy, mid 16th Century Gilt bronze 54 x 48 cm 21 1/4 x 19 in Provenance: M. Barbagli Private Collec...

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...

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...

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...