Northern Renaissance Art

Prodigus is a beautiful black and white engraving on paper, made by Gerard de Jode around 1570. Title in Latin "Delitys fruitur veneris patrisque liei / Prodigus, the premiere mox miser ecce fame" on the plate on the lower margin and "MC" monogrammed on plate the lower left margin and inscription of the author on the plate on the lower right margin ( the name is partially readable). The parable of the son to the prodigy...

Ferdinand Victor Leon Roybet. French ( b.1840 – d.1920 ). Le Mousquetaire. Oil on Panel. Signed upper right. Image size 31.1 inches x 24.4 inches ( 79cm x 62cm ). Frame size 39 inche...

The Agony in the Garden. (Christ on the Mount of Olives). Technique: Oil on Panel, 4 wooden boards, not parqueted. Dim. with frame: 78cm x 67cm Dim. without frame: 52 x 62 cm Germa...

This woodcut print, depicting the 'Agony in the Garden,' is a rare image coming from a small passional. A passional is a common kind of devotional ...

Venus and Mars surprised by Vulcan, circa 1580, circle of Jacob de Backer ( Antwerp, 1545 - 1585) The subject of our work is derived from Ovid's metamo...

This artwork is described beautifully by Art critic and curator Salvatore Russo at an exhibition in Uffizi Gallery, Florence 2016 - "Barry Davies, a sculp...

Passionate about anatomy and the natural form, Davies modelled this hunter/thoroughbred type horse in a way that exhibits the inherent beauty of its skeletal shape and musculature, ...

The arrest of Christ; Judas embraces Christ as a group of soldiers apprehend Him; Christ places His hand on the fearful Malchus who sits on the ground holding a lamp; Peter grips his...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

Item is in excellent condition and has only been displayed in a gallery setting. This painting was procured direct from the artist's studio. Cornelis le Mair is truly a renaissance ...

Gillis Claeissens Portrait of a Lady, probably "Anne Joigny-de Pamele" Oil on wood, 35,5 x 28 cm Gillis Claeissens has only recently been rediscovered as an important portrait painter of the 16th century. He received his training in the studio of his father, Pieter I Claeissens. Gillis became a freemaster of the St Luke's Guild in Brussels in 1566 and worked at the court of Alexander Farnese in Brussels between 1589 and 1592. Later he was also court painter to the Archdukes Albert and Isabella. After his return to Bruges, he created portraits of high Bruges society. It was only through the Forgotten Masters exhibition in Bruges in 2018 that the work of Gillis Claeissens was rediscovered. The present painting recently turned up in a private collection and was confirmed as a typical work by Claeissens by Mrs Oosterwijk at the Museum Groeninghe in Bruges. Gillis Claeissens or Egidius Claeissens (Bruges, 1526 – Bruges, 17 December 1605) was a Flemish painter of portraits and altarpieces and a member of a prominent family of artists originating in Bruges. It has only been possible to distinguish Gillis Claeissens' work from that of his father and siblings after scholars discovered a contract with the artist for the painting of a tryptich. It was further discovered in 2015 that he artist can be identified with the Monogrammist G.E.C. These discoveries have allowed to recognise Gillis Claeissens as an important portraitist alongside Pieter Pourbus in 16th century Bruges. Portrait Paintung, Old Master, Bruges School, Bruges Painting...

Published by Haddad's Fine Arts. Printed in USA Good Condition - slight dent in middle right (pictured). 23 x 35 in.

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...

Original work by J Snyders 1650: A really eye-catching copy on canvas of this hunting scene originally by Snyders. Artist Biography: Jonathan Adams has...

An early French wooden panel carved in bas relief, depicting a muscular male nude rider, accompanied by his dog. Sculpted in honey-coloured wood, this antique piece, dates from the ...

Jale with the Sisera's Head is a copper engraving on laid paper in 1586 by the German engraver Matthaeus Greuter. Representing one of the terrible heroines of the Old Testament, Gia...

Two oil on panel Old Master landscape paintings by Johannes Jakob Hartmann (Bohemian, 1680-1730) Bohemia, early 18th Century Panel: Height 73cm, width 93cm Frame: Height 90cm, width...

The last major event devoted to Chardin was held in 1979 at the Grand Palais in Paris of "Girl with Racket and Shuttlecock." Special pricing for delivery.

Wonderful scene depicting a flemish interior higly detailed. Oil on canvas. XIX century. comes with frame

Hans Sebald Beham (1500-1550), engraving, c. 1540, [with initials in the plate]. Reference: Bartsch 244, Pauli 253, only state. In generally good condition, with slight abrasions, soft rust marks, trimmed on or just into the plate mark but outside of image. 15/16 x 5 1/8 inches, archival mounting. Provenance: ex Collection Dr. Herweg (stamp verso, Lugt 3974); P. Davidsohn (Lugt 654). This impression is mentioned in the Hollstein catalogue raisonné. A very good impression of this great rarity. Sebald Beham, like the other illustrious German Little Masters of the Northern Renaissance including his brother Barthel, Heinrich Aldegrever, Albrecht Altdorfer...

Watermark: Bull's Head with Serpent and Cross (Briquet 1575, dated 1492 by Briquet) Provenance: Martin Folkes (Lugt 1034) Reverend G. L. Blake (Lugt 1172) Reference: Bartsc...