16th Century Art

"Broversavia", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest pr...

Braun G., Hogenberg F., Duynkercke or Dunkirk, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Very fine B/W aquatint showing a view of the port and...

Braun G., Hogenberg F., Aldenburgum Holsatiae, or Stade, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Precious hand-colored aquatint showing a vi...

An old master drawing that can live in a very contemporary environment! Remarkable use of line and expression - should be enjoyed in an important spot - can grace a kitchen or livin...

A brilliant and early impression of this woodcut. Dark, well-inked, with strong contrasts and no sign of wear. From "The Fall and Salvation of Mankind Through the Life and Passion of Christ."

Attributed to Jan VAN DER STRAET, called Stradanus (Bruges, 1523 – Florence, 1605) Hunting Scene Pen and brown ink, brown wash and white heightening on prepared brown paper, 26 × 31 cm Unsigned Provenance Private collection, France This striking and highly accomplished drawing depicts a wild boar hunt in a wooded landscape, animated by numerous figures and animals. The dramatic energy of the foreground, where hounds and hunters engage the beast, is heightened by the bold use of white heightening, which models the forms and enlivens the surface. The background, structured by tall trees and populated with additional hunting scenes, lends the composition a theatrical depth. Attributed to Jan van der Straet, known as Stradanus, this work belongs to the artistic context of Medicean Florence, where the artist developed an important body of hunting scenes intended for illustration and engraving. Influenced by Italian Renaissance models as well as his native Flemish culture, Stradanus excelled in dynamic storytelling and elegant draftsmanship. The drawing may have been a preparatory study for one of the compositions from the celebrated Venationes Ferarum, Avium, Piscium series, engraved in Antwerp under the supervision of Philips Galle...

This magnificent drawing from the Venetian Renaissance intrigues us in many ways. It depicts an allegorical composition whose meaning partly escapes us: a veiled figure seated on a stone bench (which we have identified as Chastity), seems to be turning away from a woman's bust beside her, below which are two rabbits, a traditional allegory of fertility, but also sometimes of lust. This drawing, executed on blue paper, undoubtedly belongs to the Venetian Renaissance. The inscriptions on the back of the old mounting board indicate the various attributions considered by its last owner, the British painter and art historian Sir Lawrence Gowing. We have retained the attribution to Giuseppe Porta proposed by art historian John Arthur Gere as the most relevant. We were incredibly fortunate to find a hexagonal frame of a very similar format for this drawing, the upper corners of which were formerly cut (irregularly). This 17th-century Dutch frame comes from an aristocratic collection in Lombardy, and creates a kind of fascinating chase around this Venetian drawing...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

Tempera on wood depicting a half-length female figure; she wears a red dress over a light-colored tunic, while a green drape rests on her right shoulder. The red hair is tied up with a central parting and is partly covered by a white headdress; the full face has an absorbed expression: a thoughtful gaze, arched eyebrows and slightly furrowed lips. Presented in a frame made with parts of an ancient larger frame. Historical-critical analysis: Our table in question is one of the numerous derivations from a lost fresco by Andrea del Sarto...

Burin, Monogram on plate at the centre lower. Outstanding Proof representing the myth of David winner on Goliath. In perfect condition, except a light sign of renovation left-higher, over the marginal line of impression. Very rare. Including passepartout, cm 60x 40. Marcantonio Raimondi...