16th Century Art

Etching black and white from Civitates Orbis Terrarum. View of the Old Mexico City, built over the ruins of the Aztec city of Tenochtitlán from 1520, and Cusco, ancient capital of th...

Ancient View of Loeven is an original etching realized by George Braun and Franz Hogenberg in the Late 16th Century, as part of the famous Series "Civitates Orbis Terrarum" (Atlas of...

"Granada", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. Very nice B/W Aquatint, representing a View of Granada, from the East, which was perhaps t...

Enea Vico (1523-1567 engraving, Two Trophies With a Breast Plate and a Ram’s Head, 1550, Bartsch 447, with the name of the publisher Ant[onio] Lafreri at bottom, before numbers. Goo...

Johannes Sadeler, the Elder (1550-1600) The Creation of the Firmament; also called The Second Day of Creation Engraving, 1585-1587 Unsigned After Martin de Vos' (1532-1603) painting ...

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

Ferrara school of the late sixteenth century - circle of Giuseppe Mazzuoli known as Bastarolo (Ferrara 1536 - 1589) St. Jerome penitent in the cave ...

Andrea Boscoli (Florence, Italy, 1564 – Rome, Italy, 1608) Title: 𝘛𝘩𝘦 𝘱𝘢𝘺𝘮𝘦𝘯𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘥𝘶𝘵𝘺, 𝘧𝘳𝘰𝘮 𝘗𝘰𝘭𝘪𝘥𝘰𝘳𝘰 𝘥𝘢 𝘊𝘢𝘳𝘢𝘷𝘢𝘨𝘨𝘪𝘰 Medium: Pen and brow...

Two, large, stunningly painted, left and right, oil-on canvas, Italian paintings of the Emperor's Vespasian and Julius Caesar, with their names inscribed on the lower left hand corne...

This large sheet, delicately enhanced with blue ink wash, was created by Lodovico Cardi, known as Il Cigoli, the most prominent painter in Florence at the end of the 16th century. It...

16th Century Neapolitan Maestro Title: Vision of Saint John in Patmos Medium: Oil on panel Dimensions: without frame 113 x 85 cm Painting without frame Not signed Expertise by Profe...

Tuscan painter active towards the end of the 16th century Portrait of Captain Niccolò Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola. Tuscany, end of the 16th century Oil on canvas, 64 x 47 cm., Framed 89 x 73 cm. The portrait we present to you shows the effigy of a vigorous high-ranking male figure in armor, in the most typical Renaissance pose, half-length and taken in profile, with his face and gaze turned to the side; the serious and intense expression and the facial features evoke at first glance the portraiture of early Florentine mannerism. He is Niccolò III Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola and son of Aldobrandino Orsini, famous leader and captain (or capitano di ventura) who lived between the fifteenth and sixteenth centuries, who served for the state Pontifical in Naples and Florence and above all for the Republic of Venice. Portraiture with these characters, which derives from ancient coinage, was used in the sixteenth century in the sequences of Portraits of Illustrious Men, both in painting and in sculpture. The profile portrait was in fact a genre reserved, according to the Renaissance tradition, for celebrations, presenting those characteristics of imperturbability typical of the military role covered. Our painting is a work created by an author active in Tuscany towards the end of the sixteenth century, adhering to those pictorial styles made famous by the portraitist Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then of Pontormo, known for having created a collection of about 500 portraits of illustrious men, known as the 'Gioviana Series' (now in the Uffizi Gallery); and among these it is possible to identify one dedicated to Niccolò Orsini. Our painting is inspired, in particular, by a print taken from the collection of prints...

Oil on chestnut board. Central European school of the 16th century. The traditional scene, presents the Infant Jesus who, in the arms of his Mother with whom he exchanges a tender gl...

LUCAS VAN LEYEN (1494 Leyden 1533) MARK THE EVANGELIST, 1518. (Bartsch 100; Volbehr 98; Filedt Kok 100). Copperplate engraving. Engraved monogram and date at the upper edge. Sheet 4...

Frankfurt: c1549. Engraving on laid paper, 7/8 x 5 3/8 (22 x 136 mm), thread margins. Fine impression. A fine first state (of 3) impression, with the collector's stamp of Pieter M.M....

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Italian School, late 16th century Head of a Man and Écorché Studies of Arms Red chalk on laid paper, 21 x 11 cm Provenance: Collection of Michael Jaffé CBE (1923–1997), English art historian and Director of the Fitzwilliam Museum, Cambridge Private collection, France This drawing, attributed to the Italian School of the late 16th century, demonstrates the influence of Michelangelo’s approach to anatomy and expression. The sheet combines two distinct studies: an anatomical rendering of arms in the écorché technique, focusing on the musculature and skeletal details, and a head of a man, drawn with careful attention to light and shadow. The use of red chalk lends the work warmth and immediacy, qualities often associated with Renaissance studies of the human form. The écorché studies reflect the Renaissance fascination with anatomy as both an artistic and scientific pursuit. The detailed depiction of the musculature suggests the artist’s interest in understanding the mechanics of the body, a practice heavily influenced by Michelangelo’s drawings...

Engraving on cream laid paper, 5 7/16 x 3 7/16 inches (138 x 87 mm), narrow margins. In good condition with minor edge wear including some small losses, notable at the upper left cor...

Haarlem: 1593. Engraving on cream laid paper with a Strasbourg Lily watermark, 10 3/8 x 7 1/8 inches (264 x 181 mm), the full sheet. Narrow margins. In very good condition with some...

Francesco di Girolamo da Santacroce (Venice, 1516–1584) Saint Roch Oil on canvas 126 x 68 cm. Framed: 137 x 80 cm. The painting depicts Saint Roch (a companion piece featur...

Oil on Board. Central-Italian school of the second half of the 1500s. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior th...

Georg Pencz (1500-50) engraving, c. 1540, Abraham and Sarah (Sarah Presenting Hagar to Abraham). Reference: Bartsch 1, Landau 1, only state. [title...

Hendrick Goltzius (1558-1617), engraving, 1593 [with extensive inscription in the plate]. Reference: Bartsch 161, Hollstein 177, second state (of two...

Large Saint Sebastian finely carved in alabaster. The saint is attached to a column surmounted by a capital, beautiful soft features and superb hair wi...

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

Bernardino Detti (Pistoia, Italy, 1498 - 1572) Title: Face of Christ Medium: Oil on canvas Dimensions: without frame 41 x 32 cm - with frame 47 x 55.5 cm Antique box frame made of solid wood and walnut burl Not signed Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

Oil on Canvas. Second half of the 16th century. The painting comes from the historical family collection of Count Castracane, as is documented by the original handwritten paper recei...

Hans Sebald Beham (1500-1550), Panel with a Mascaron, engraving, 1543 [with the initials monogram and date in the plate]. Reference: Bartsch 231, Hollstein 235. Second state (of 2). ...

Oil on canvas Image size: 26 x 37 inches (66 x 94 cm) Period hand carved gilt frame The pictorial arrangement of the Holy Family, with various saints in a landscape, was very popular in sixteenth-century Venice, following the prototype of Giovanni Bellini. Possibly intended for private devotion, this picture is a representative example of the compositional type known as the sacra conversazione...

A painter in the style of Leonardo, early 16th century Attributed to Bernardino de Conti (Castelseprio, 1470 – Pavia, 1523) Madonna and Child Oil on canvas 45 x 34 cm. With...

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 ...

Engraving on cream laid paper with an anchor topped with a trefoil watermark, 8 x 5 3/8 inches (204 x 137 mm), thread margins. Likely one of the copies produced in Goltzius's own stu...

Adriaen Collaert Flemish, Antwerp, c. 1560–1618 after Maerten de Vos Flemish, 1532–1603 C. Iulius Caesar (Julius Caesar as the Fourth Monarch), c. 1585–1600 Plate 4 from Four Illust...

The Holy Family with the Infant Saint John School of Tiziano Vecellio (Pieve di Cadore, 1490 – Venice, 1576) 84 x 98 cm. In a gilded frame: 96 x 110 cm. Key bibliography: G. ...

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...

FEDERICO BAROCCI (Urbino 1526-35 - 1612) Study of bearded man Black and red chalk, stumping, pastel heightened with white on brown-prepared paper 15 3/8 x 10 5/8 in 39 x 27 cm Unsi...

Felice Pinariccio, known as Le Lasagna (active in Bologna during the 1560s-1570s) Virgin and Child with Saint John the Baptist and Saint Jerome Pen and brown ink, brown wash heighte...

Engraving on cream laid paper, 2 1/8 x 3 7/16 inches (54 x 88 mm), thread margins. With an indiscernible ovoid ink stamp in black ink on the lower right verso. In excellent condition...

This is a 16th century original hand-colored copperplate engraved map of a bird's-eye View of Embden, Germany entitled " Emuda, vulgo Embden vrbs Frisia orientalis primaria" by Georg Braun & Franz Hogenberg, in volume II of their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1575. This is a beautifully colored and detailed map of Emden, a seaport in northwestern Germany, along the Ems River and perhaps portions of over Dollart Bay, near the border with the Netherland. The map depicts a bird's-eye view of the city from the southwest, as well as a view of the harbor and an extensive system of canals. Numerous ships of various sizes, as well as two rowboats containing numerous occupants are seen in the main waterway in the foreground and additional boats line two canals in the center of the city. Two men and two women are shown on a hill in the foreground on the right, dressed in the 16th century style of nobility. Two ornate crests are included in each corner. A title strap-work cartouche is in the upper center with the title in Latin. The crest on the right including Engelke up de Muer (The Little Angel on the Wall) was granted by Emperor Maximilian I in 1495. This is an English translation of an excerpt of Braun's description of Embden: "In Emden, the capital of East Frisia, rich merchants live in very fine houses. The city has a broad and well-situated harbour, which in my opinion is unique in Holland. Frisia and the whole of the Netherlands, for the ships can anchor here right under the city walls. They have also extended the harbour as far as the New Town, so that up to 400 ships can now find shelter here when the sea is rough." The emphasis on the harbor and waterways within the city highlights the importance of Emden's place as a seaport at this time. Embden developed from a Dutch/Flemish trading settlement in the 7th-8th centuries into a city as late as late 14th century. In 1494 it was granted staple rights, and in 1536 the harbour was extended. In the mid-16th century Emden's port was thought to have the most ships in Europe. Its population then was about 5,000, rising to 15,000 by the end of the 16th century. The Ems River flowed directly under the city walls, but its course was changed in the 17th century by the construction of a canal. Emden has canals within its city limits, a typical feature of Dutch towns, which also enabled the extension of the harbor. In 1744 Emden was annexed by Prussia and is now part of Germany. It was captured by French forces in 1757 during the Seven Years' War, but recaptured by Anglo-German forces in 1758. During the Napoleonic French era, Emden and the surrounding lands of East Frisia were part of the short-lived Kingdom of Holland. References:Van der Krogt 4, 1230, State 2; Taschen, Braun and Hogenberg...

Tuscan Mannerist figurative painting depicting the 4 Cardinal Virtues, tempera on canvas and paper in guilloché wood frame and marbled painting (102 x 81 cm). The virtues are depicte...

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...

Small Candoglia marble altar, Lombard area of Renaissance period, early 16th century. The plaque depicts in the center a woman lying on a bed with a crown on her head, a palm branc...

Roman School (circa 1590–1620) Study of a Male Executioner Black chalk on laid paper, 275 x 199 mm Unsigned Formerly Giancarlo Sestieri Collection This dynamic figure study, exe...

Spanish Illuminated Gradual Leaf: Sexagesima and Quinquagesima Sundays Italy, probably Northern Italy Late sixteenth century, circa 1575–1600 Latin manuscript on parchment; Gothic ro...

An illustration from an extensive study on larks (De Alaudis) first published in 1555; Historiae animalium is considered one of the foundational texts of modern zoology. Alavda sine...

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 ...

Heinrich Ulrich (aka Heinrich Ullrich) (fl.1567–1621) “Soldier with Hellebarde”, 1598, out of the series, “The Guard of Emperor Rudolph” (aka “Old German Soldiers...

Johannes van Doetecum 1528-1605, Veelderleij niewe inventien van antijcksche sepultueren...Libro secundo (Surface decorations, grotesques with strapwork, including cartouches and fun...

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...

This finely executed 16th-century portrait depicts a theologian adorned with a distinctive diamond-shaped headdress and encircled by a luminous nimbus, a symbol of sanctity and spiri...

STEFANO DALL’ARZERE (Padua, circa 1520 – 1570) Saint Jerome Praying, with a Landscape in the Background Pen and brown ink, heightened with white over black chalk lines 15.5 x 12 cm...

A fierce battle scene with women warriors. (after Perino del Vaga) Engraving on oval-shaped light laid paper, 8 1/4 x 10 3/4 inches (260 x 274 mm), the full sheet, trimmed at the pl...

Engraving after Luca Penni

Giovanni Maria Butteri (Florence, Italy, 1540 - 1606) Title: Portrait of Francesco I Medium: Oil on panel Dimensions: without frame cm. 47.7 x 39 - with frame cm. 55.2 x 46.5 Not signed Expertise by Carlo Falciani, art historian Fairs: The International Biennial of Antiques in Florence 2024 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: From Sacro to Profano, the Giorgio Baratti art collection from Milan, exhibition catalogue curated by Daiva Mitrulevičiūtė, Giovanni Matteo Guidetti and Ileana Maniscalco, (16 February – 27 September 2020), Vilnius, National Museum - Palace of the Grand Dukes of Lithuania, pp. 566-569. This valuable portrait, by the painter Giovanni Maria Butteri, an exponent of Mannerism and active mainly in Florence, portrays Francesco I de' Medici (1541 - 1587) eldest son of the Grand Duke of Tuscany...

Braun G., Hogenberg F., Jerusalem, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Image dimensions: cm 32.8 x 41; dimensions: cm 41 x 54; Passepart...

Provenance: Edouard Schultze (Lugt 906) References: Bartsch 34 Boorsch & Lewis 38 Notes: A fine impression of this engraving. Boorsch and Lewis state that this work dates from “the mid-1560s” and suggest that it was after a work by Giulio Romano...

Italian sculptor (16th century) - Lion in heraldic pose. 27.5 x 8 x h 23 cm. Full figure in carved walnut with dark patina, on a rectangular base. The lion is depicted in a herald...

Jesus and the Woman Taken in Adultery (after Pieter Brueghel the Elder [c. 1525-1569]) Engraving, 1579 Signed in the plate by Bruegel (the artist), Perret (the engraver) and Visscher...

Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), trimmed inside the platemark. Scattered discoloration and uniform age tone, all consistent wit...

A detailed engraving with hand colouring depicting an expansive view of Edinburgh from Franz Hogenberg (1535-1590) after Georg Braun's (1541-1622) *Civitates Orbis Terrarum*. A Latin...