Old Masters Art
OLD MASTERS
Encompassing centuries of change in Europe between 1300 and 1800, from booms of prosperity to bloody revolutions, Old Masters describes a wide range of artists. The informal term was derived from the title of an artist who trained in a guild long enough to become a master, such as Leonardo da Vinci, who studied in a Florence painters’ guild. However, Old Masters paintings, prints and other art is now used to refer to work made by any artist with a high level of skill in painting, drawing, sculpture or printmaking who worked during this era.
The 15th century’s expansive trade and commerce spread culture across borders. A vibrant period of art emerged, bolstered by studies of anatomy and nature that influenced a new visual realism. From Raphael and Michelangelo in the Renaissance to Rembrandt van Rijn and Johannes Vermeer in the Dutch Golden Age, artists expressed emotion, naturalism, color and light in new ways. El Greco and Paolo Veronese were leaders in the dramatic style of Mannerism, while Caravaggio and Peter Paul Rubens demonstrated the movement and meticulous detail of Baroque art.
Historically, most attention was concentrated on male artists, but recent research and exhibitions have elevated the impactful work of women such as Rachel Ruysch and Artemisia Gentileschi. In late-18th-century France, female artists like Adélaïde Labille-Guiard and Élisabeth Vigée Le Brun were prominent names. Nevertheless, access to the academies and guilds was highly restricted for women, and even those able to establish practices were expected to adhere to portraits and still lifes rather than the grand history paintings being created by men.
Find a collection of Old Masters prints, paintings, drawings and watercolors and other art on 1stDibs.
to
634
2,379
764
343
311
359
Overall Width
to
Overall Height
to
3,074
868
91
136
10
5
4
2
1
6
3
11
3
4
2,239
116,256
65,337
53,652
26,977
14,657
9,465
6,065
5,801
4,169
3,021
2,549
2,269
2,235
727
1,978
1,743
386
2,823
1,472
940
914
891
466
432
324
270
269
217
208
207
161
112
105
101
99
86
81
2,294
1,273
1,138
403
400
113
95
94
88
68
1,203
2,195
2,434
737
Style: Old Masters
A landscape drawing by Claude Lorrain, with a preliminary sketch on the verso
Located in PARIS, FR
This study presents a typical Roman countryside landscape: an ancient mausoleum in front of which a cart is passing by followed by two peasants. If the technique (a pen drawing on graphite lines, completed with a wash of brown and grey inks) and the signature inevitably evoke the art of Lorrain, we find on the verso of this drawing additional evidences that lead us to consider this unpublished drawing as a work by the master.
The motif of the mausoleum has been taken up in pen on the verso in a technique that can be found in several other drawings by Lorrain. There is also a study of three characters, which can be considered as preparatory to Lorrain’s painting entitled The Port of Ostia with the Embarkation of Saint Paula, leading us to claim this attribution with a dating of around 1639.
1. Claude Lorrain or the perfection of classical landscape in Rome in the 17th century
Claude Gellée was born in 1600 in Chamagne in Lorraine. Orphaned at the age of twelve, he spent a year with his brother in Freiburg, where the latter was a woodcarver. Claude Gellée then probably arrived in Rome in 1613, where he joined the workshop of Agostino Tassi (1580 - 1644) in 1617. Between 1619 and 1620 he studied for two years in Naples in the workshop of Goffredi Wals (who was himself a former pupil of Tassi).
In 1625 he returned to Lorraine for two years where he worked alongside Claude Deruet. He then returned to Rome, a city he never left for the rest of his life (except for short trips to the surrounding countryside).
From 1627 to 1650 he lived in Via Margutta. From 1635 onwards he became a renowned painter and commissions started to pour in. Considered during his lifetime as the most accomplished of the classical landscape painters, his reputation never faded.
Between 1629 and 1635 Le Lorrain often went to the Roman countryside to draw with his friend Joachim von Sandrart (1606 - 1686). He became a member of the Academy of Saint Luke in 1633, while being closely acquainted with the Bentvueghels, this guild which brought together the young Nordic painters active in Rome. In 1643 he joined the Congregation of the Virtuosi. In 1650 he moved to Via Paolina where he lived until his death.
Little is known of his intimate life. He seems to have had a daughter, Agnes, from an ancillary love affair. In 1657/ 1658 she moved in with him. Stricken with gout in 1663, he died in 1682.
2. Description of the drawing; the technique of nature studies
Two peasants are walking behind a horse-drawn cart on a road that winds through ancient tombs. While a rectangular tomb with a columned facade can be seen in the distance, the cart passes an important ancient building. It has a circular shape and its partially ruined façade is decorated with columns. The start of a second floor can...
Category
1630s Old Masters Art
Materials
Ink, Pen, Graphite
Siberia as Explored by Behring: Original 18th Century Hand-colored Map by Bowen
Located in Alamo, CA
This is an original 18th century hand-colored map entitled "An Exact Chart of all the Countries through which Capt. Behring Travelled from Tobolski, Capital of Siberia to the Country...
Category
Mid-18th Century Old Masters Art
Materials
Engraving
Letter of the Alphabet L - Etching by Luigi Vanvitelli - 18th Century
Located in Roma, IT
Letter of the Alphabet L, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th centu...
Category
Late 18th Century Old Masters Art
Materials
Etching
Angels Flower Garzi Paint Oil on canvas Old master 17/18th Century Italian Art
By Luigi Garzi (Pistoia 1638– Rome1721)
Located in Riva del Garda, IT
Roman school of the early 18th century
Luigi Garzi (Pistoia 1638– Rome1721) attributed
Still life of fruit supported by three angels
Oil on oval canvas
116 x 91 cm., Framed 140 x 119 cm.
Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi
This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century.
The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example.
We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri.
The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713)
The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects.
Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni.
But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta.
However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity.
These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...
Category
Late 17th Century Old Masters Art
Materials
Oil
$14,947 Sale Price
20% Off
The Mother Seated in an Inn
Located in New York, NY
Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, a later impression, second state (of 2). In good condition, trimmed outside...
Category
1660s Old Masters Art
Materials
Etching
Rebecca at the Well
Located in New York, NY
Provenance:
Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to:
Private Collection, Cumberland Foreside, Maine, until 2018
This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist.
The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac.
Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...
Category
15th Century and Earlier Old Masters Art
Materials
Oil, Tempera, Wood Panel
No Quiren - Etching by Francisco Goya - 1863
Located in Roma, IT
No quiren is an original artwork realized by the great Spanish artist Francisco Goya in 1810.
Original Etching on paper.
The artwork belongs to the famous series "Los Desastres de la Guerra" realized during the years of the Independence Spanish War, published in 1863 and representing the horrors and the despair of the War.
Signature appears upside down in the lower right corner. Titled on the lower central margin "No Quiren" (Not Even Them). Numbered on the lower left corner. Etching N. 9.
Very good conditions.
A Napoleonic soldier...
Category
1860s Old Masters Art
Materials
Etching, Aquatint
19th century landscape village scene horses, animals inn by georgina lara
Located in York, GB
A very fine village scene depicting An English Village with figures, animals, horses, and cart by an Inn,
oil on canvas, indistinctly signed,G Lara , lower left
The size being 51cm x 31cm whilst overall being 66 cm x 47cm
in excellent ready to hang condition
Georgina Lara was also known as Edwina Lara ,she was a London painter of rustic farmyard and village scenes. Her work is extremely similar to Edward Masters who also went by the name of William Masters...
Category
19th Century Old Masters Art
Materials
Oil
17th century etching black and white seascape scene boat waves ocean clouds sky
Located in Milwaukee, WI
"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...
Category
Early 17th Century Old Masters Art
Materials
Etching
Flower Garland Virgin Paint Oil on canvas Old master 17th Century Italy
By Giovanni Stanchi
Located in Riva del Garda, IT
Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of
GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN
Rome, First half of the Seventeenth century
o...
Category
17th Century Old Masters Art
Materials
Oil
$5,557 Sale Price
20% Off
Portrait of a Girl, 17th Century English School Old Masters Oil
By Gilbert Jackson
Located in London, GB
Gilbert Jackson
English Active: 1620 - 1650
Portrait of a Girl
Oil on panel, signed upper left and Inscribed upper right
Image size: 24 ½ x 20 inches
Contemporary style hand made...
Category
17th Century Old Masters Art
Materials
Oil
Letter of the Alphabet S - Etching by Luigi Vanvitelli - 18th Century
Located in Roma, IT
Letter of the Alphabet S, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century.
Good conditions.
The etching belon...
Category
Late 18th Century Old Masters Art
Materials
Etching
17th Century French sanguine drawing of maiden's harvesting flowers
By (Circle of) Nicolas Poussin
Located in Petworth, West Sussex
Circle of Nicolas Poussin (French, 1594-1665)
Maiden’s harvesting flowers
Sanguine on paper
8. ¾ in. (22 cm.) tondo
Category
17th Century Old Masters Art
Materials
Paper
Noli Me Tangere Brueghel 17th Century Paint OIl on canvas Old master Religious
Located in Riva del Garda, IT
Jan Brueghel the Younger (Antwerp 1601–1678) workshop of
Noli me tangere
Oil on canvas 97 x 128 cm - In frame 114 x 143 cm
This is a fascinating work, both for its subject, f...
Category
17th Century Old Masters Art
Materials
Oil
"Four Women in National Costumes, " Etchings by Wenceslaus Hollar
Located in Milwaukee, WI
"Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar.
3 5/8" x 2 3/8" each print
19 1/8" x 18 1/2" frame
Wenceslaus Von Prachna Ho...
Category
17th Century Old Masters Art
Materials
Etching
Set of Two Hand-Colored Ornithological Engravings by George Edwards /// Bird Art
Located in Saint Augustine, FL
Artist: George Edwards (English, 1694-1773)
Title: "Set of Two Hand-Colored Ornithological Engravings by George Edwards"
Portfolio: A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals / Gleanings Of Natural History
Year: 1743-1764
Medium: Set of Two Original Hand-Colored Engravings on watermarked laid and wove papers
Limited edition: Unknown
Printer: C. Rickaby, London, UK
Publisher: William Gardiner and Messrs. Robinson, London, UK
Reference: Mullens and Swann page 194-195; Anker No. 124-126; Fine Bird Books page 93; Lisney page 128-144; Nissen IVB No. 286-288; Zimmer page 192-198
Sheet size (each): approx. 11.25" x 9"
Image size (each): approx. 8.63" x 7.38"
Condition: "90" has faint offsetting to sheet. "308" has one foxmark center right. They are both otherwise in excellent condition with strong colors
Notes:
Comes from Edwards seven volume portfolio "A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals" / "Gleanings Of Natural History" (1743-1764), which consists of 362 hand-colored engravings. "90" is on laid paper with a "fleur-de-lis" watermark at center left edge. "308" is on wove paper with no watermark. The last image of the cover title sheets is for reference/provenance; it is not included.
Biography:
George Edwards FRS (3 April 1694 – 23 July 1773) was an English naturalist and ornithologist, known as the "father of British ornithology". Edwards was born at West Ham...
Category
1740s Old Masters Art
Materials
Watercolor, Laid Paper, Engraving, Intaglio
Early 19th century Empire figure bronze sculpture - woman's bust
Located in Varmo, IT
Small bronze ornament - Bust of a woman. Italy, early 19th century.
8 x 8 x h 29 cm, without base h 23 cm.
Made entirely of patinated and gilded bronze. Depicting a female figure i...
Category
Early 19th Century Old Masters Art
Materials
Marble, Bronze
Portrait of an Officer, Cornelius Johnson, 17th Century Old Masters
By Cornelius Johnson
Located in London, GB
Circle of Cornelius Johnson
Circa 1620’s
Portrait of a Officer
Oil on canvas
Image size: 28 x 24 inches
Period style hand made frame
Provenance
Private European Estate
This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...
Category
Early 17th Century Old Masters Art
Materials
Oil
Portrait of a Young lady as Diana in Landscape - French Old Master oil painting
By Pierre Mignard
Located in London, GB
This superb French Old Master portrait oil painting is attributed to Pierre Mignard. Painted circa 1670 it is a seated full length portrait of a young lady in a landscape, as Diana w...
Category
1670s Old Masters Art
Materials
Oil
Family gathering Winter Fuel in a Landscape - British Old Master oil painting
Located in London, GB
This charming large British Old Master pastoral oil painting is by noted artist Francis Wheatley. It was painted in 1797 and depicts five figures, a family and a dog in a woodland s...
Category
1790s Old Masters Art
Materials
Oil
Perception - 21st Century, Contemporary, Figurative, Africa, Women, Linocut
Located in Ibadan, Oyo
Shipping Procedure
Unmounted artwork
Ships in a well-protected tube from Nigeria
Accompanied by a Certificate of Authenticity.
About Artist
Tosin Oyeniyi is an intrinsically talente...
Category
21st Century and Contemporary Old Masters Art
Materials
Canvas, Linen, Ink, Linocut
$1,160 Sale Price
20% Off
Axiom - Etching by Francesco Mazzoni - 18th Century
Located in Roma, IT
Axiom is an original etching on paper realized by Francesco Mazzoni in the 18th century.
Signed on the plate. Included a Passepartout: 45 x 30.5 cm
Francesco Mazzoni ( 1738-1989).
...
Category
18th Century Old Masters Art
Materials
Etching
17th Century, Old Master, "King Basileus Alexander of Macedon Magnus, the Great"
Located in Berlin, DE
Very decorative, 17th century, old master painting, oil on canvas, King Alexander Magnus, the great.
Illustration of two children, putti, with wreaths of flowers on a board (or maus...
Category
17th Century Old Masters Art
Materials
Canvas, Oil
$26,838 Sale Price
20% Off
Imaginary View of an Italian Port, a signed and dated drawing by Jacobus Storck
Located in PARIS, FR
In this finely executed pen and wash drawing, Jacobus Storck presents us with an imaginary view in an Italian port. The splendor of the buildings (the large sculpted fountain surmoun...
Category
1680s Old Masters Art
Materials
Paper, Pencil, Pen, Ink
Allegory of Autumn With Bacchante - Etching by Filippo Morghen - 18th Century
Located in Roma, IT
Allegory of Autumn With Bacchante from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century.
Signed on the plate.
Good conditions and...
Category
Late 18th Century Old Masters Art
Materials
Etching
De Jode Winter Landscape Paint Oil on canvas Old master 17th Century Flemish Art
Located in Riva del Garda, IT
Hans de Jode (The Hague, 1630 - Vienna, 1663)
Fantasy winter landscape with lake and city on the banks
About 1650
Oils on canvas (62 x 93, in frames 82 x 112)
The work is accompanied by an expertise of Dr. Fred G...
Category
17th Century Old Masters Art
Materials
Oil
$9,345 Sale Price
20% Off
17th century etching black and white figurative landscape cityscape buildings
Located in Milwaukee, WI
"Figures Outside the Monastery" is an original etching by Jan Frans van Bloemen. It depicts people on the path to a church.
7" x 10 1/4" art
19 1/4" x 22 5/8" frame
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...
Category
18th Century Old Masters Art
Materials
Etching
Frontispiece of Antiquities of Herculaneum - Etching by F. Lavega - 18th Century
Located in Roma, IT
Antiquities of Herculaneum is an etching on paper realized by Francesco Lavega in the 18th Century.
Signed on the plate.
Good conditions and aged.
The etching belongs to the print...
Category
18th Century Old Masters Art
Materials
Etching
Set of Three Color Engravings from "Herbier de la France" by Pierre Bulliard
Located in Saint Augustine, FL
Artist: Pierre Bulliard (French, 1742-1793)
Title: "Le Pied de Griffon (Griffin's Foot)", "La Laureole (The Laurel)", and "Le Cabaret d'Europe (The European Cabaret)"
Portfolio: Herb...
Category
1780s Old Masters Art
Materials
Laid Paper, Engraving, Intaglio
18th Century by Alessandro Longhi Portrait of a young musician Oil on canvas
Located in Milano, Lombardia
Alessandro Longhi (Venice, Italy, 1733 – 1813)
Title: Portrait of a young musician in front of his desk with a score in his hand
Medium: Oil on canvas
Dimensions: without frame 39.5 ...
Category
18th Century Old Masters Art
Materials
Canvas, Oil
Landscape with Monuments and Figures - Etching - 18th Century
Located in Roma, IT
Landscape With Monuments and Figures is an Etching realized by Various Artists (18th century).
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ...
Category
18th Century Old Masters Art
Materials
Etching
Pendant Lamp Made of Bronze - Etching by Lorenzo Mangin - 18th Century
Located in Roma, IT
Pendant Lamp Made of Bronze is an Etching realized by Lorenzo Mangini (18th century).
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “L...
Category
Late 18th Century Old Masters Art
Materials
Etching
Ancient Roman Fresco Herculaneum - Etching by Carlo Oratij - 18th Century
Located in Roma, IT
Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century.
Signed on the plate.
Good conditions.
...
Category
Late 18th Century Old Masters Art
Materials
Etching
Letter of the Alphabet D - Etching by Luigi Vanvitelli - 18th Century
Located in Roma, IT
Letter of the Alphabet D, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century.
Good conditions.
The etching belon...
Category
Late 18th Century Old Masters Art
Materials
Etching
Letter of the Alphabet L - Etching by Luigi Vanvitelli - 18th Century
Located in Roma, IT
Letter of the Alphabet L from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century.
Signed on the plate.
Good condition...
Category
Late 18th Century Old Masters Art
Materials
Etching
French School (19th century) - The Holy Family
Located in Sant Celoni, ES
El estado de conservación se puede ver, presenta faltas y precisará restauración
Se presenta enmarcada la obra (el marco también presenta faltas)
Medidas obra: 48 cm altura x 42 cm...
Category
Early 19th Century Old Masters Art
Materials
Oil
Ancient Roman Frescoes - Etching by Giovanni Morghen - 18th Century
Located in Roma, IT
Ancient Roman Fresces from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century.
Signed on the plate.
Good conditions ...
Category
Late 18th Century Old Masters Art
Materials
Etching
17th Century Classical Oil Painting - Diana With Her Attendants in a Grotto
By Abraham van Cuylenborch
Located in London, GB
Abraham van CUYLENBROCH (1620-1658)
Diana With Her Attendants in a Grotto
1651
signed
oil on panel
12.2 in x 15.7 inches, inc. frame;
31 x 40 cm
Provenance:
Sale of Sotheby's Lo...
Category
17th Century Old Masters Art
Materials
Oil
Saint Jerome by Amand-Durand after Albrecht Durer
Located in Long Island City, NY
Artist: Albrecht Dürer, After by Amand Durand, German (1471 - 1528)
Title: Saint Jerome
Year: 1873
Medium: Heliogravure
Size: 9 x 7.25 in. (22.86 x 18.42 ...
Category
1870s Old Masters Art
Materials
Engraving
Indelible Scar - 21st Century, Contemporary, Figurative, Africa, People, Linocut
Located in Ibadan, Oyo
Shipping Procedure
Unmounted artwork
Ships in a well-protected tube from Nigeria
Accompanied by a Certificate of Authenticity.
About Artist
Tosin Oyeniyi is an intrinsically talente...
Category
21st Century and Contemporary Old Masters Art
Materials
Canvas, Linocut
Desperation - Original Etching by John Hall - 1810
Located in Roma, IT
Desperation is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, Bensley, 1810.
This artwork portrays a historical woman...
Category
1810s Old Masters Art
Materials
Etching
Landscape Paint Oil on canvas 18th Century Old master Roma Italy River Water Art
By Paolo Anesi (Rome 1697 - 1773)
Located in Riva del Garda, IT
Roman landscape painter of the eighteenth century - Entourage by Paolo Anesi (Rome 1697 - 1773)
River landscape of the Lazio countryside, with the Tiber fl...
Category
18th Century Old Masters Art
Materials
Oil
$6,043 Sale Price
20% Off
The Great Gentleman's Ride - Etching by G. Pivati - 1746/1751
Located in Roma, IT
Image dimensions: 25.5 x 18 cm.
The Great Gentleman's Ride is a fine etching, hand-watercolored, realized by the engraver Gianfrancesco Pivati.
This original print, representing an...
Category
1740s Old Masters Art
Materials
Etching
Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms
By Philips Wouwerman
Located in Stockholm, SE
Workshop / Circle of Philips Wouwerman (1619-1668)
Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms
oil on oak panel
12.40 x 14.17 inches (31.5 x 36 cm)
wit...
Category
17th Century Old Masters Art
Materials
Oak, Oil, Wood Panel
18th century English portrait of a lady beside an urn, with a basket of flowers
By Tilly Kettle
Located in Bath, Somerset
Portrait of a lady wearing a white gown with a red cloak, pearls in her hair and draped over one shoullder, standing beside a classical urn with a basket of flowers, c.1765.
The portrait is believed to be a companion portrait of a John (1741-1816) or James (1751-1807) Durno which is housed in an identical frame. The sitter is possibly either the wife of John who was Janes Byres of Stonywood or John and James's sister Elizabeth. (James never married). The Durno family were based around the Aberdeen area of Scotland and John was an advocate in the area and then later a customs official in Jamaica. James was a successful timber merchant, spending time in the Baltic before being made His Majesty's Consul in Memel, Prussia.
The portrait is likely to have been painted before Tilly travelled to India in 1768, when John, Jane and Elizabeth would have been in their twenties.
We are gtrateful to Mark Beattie for sharing his family knowlege and research on the portrait.
Provenance:
With W. C. Beattie in the mid 19th century, and by descent through the family
Private collection, Kent
With thanks to Hugh Belsey who has confirmed this to be the work of Tilly Kettle from photographs.
Tilly Kettle (1735-1786) was born in London, the third of six children by Henry Kettle (c.1704-c.1773), a coach painter, and his wife Ann. He attended William Shipley...
Category
18th Century Old Masters Art
Materials
Canvas, Oil
Study of a Fate at mid-body, a red chalk attributed to Giovanni da San Giovanni
Located in PARIS, FR
This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636.
1. Giovanni da San Giovanni, the painter of contradiction
We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today.
The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...
Category
17th Century Old Masters Art
Materials
Chalk
Portrait of A.R. Mengs - Original Etching by James Neagle - 1810
Located in Roma, IT
Portrait of A.R. Mengs is an original artwork realized by James Neagle (1765 - 1822).
Original Etching from J.c. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge ...
Category
1810s Old Masters Art
Materials
Etching
Capital Letter for Antiquities of Herculaneum Exposed - End of the 18th century
Located in Roma, IT
Capital letter from Ancient Rome, from the Series "Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters.
In very...
Category
Late 18th Century Old Masters Art
Materials
Etching
Costume di Fraine - ìWatercolor by M. De Vito - 1820 ca.
Located in Roma, IT
Watercolor on ivory colored paper, 1820 c.a.
Hand-titled "Costume di Fraine" with a caption "Provincia d'Abruzzo nel Regno di Napoli" in black ink on lower margin at the center. Han...
Category
1820s Old Masters Art
Materials
Watercolor
The Temple of Peace - Etching by Giuseppe Vasi - Mid-18th Century
Located in Roma, IT
The Temple of Peace is an original black and white etching realized by Giuseppe Vasi.
Good conditions except for the trace of being fold at the middle.
Sheet dimention:42 x 56
The...
Category
Mid-18th Century Old Masters Art
Materials
Etching
La Vierge a la Poire, Heliogravure by Albrecht Dürer
Located in Long Island City, NY
Albrecht Durer, After by Amand Durand, German (1471 - 1528) - La Vierge a la Poire, Year: 1873, Medium: Heliogravure, Size: 6 x 4 in. (15.24 x 10.16 cm), Printer: Amand Durand, D...
Category
Late 19th Century Old Masters Art
Materials
Etching
17th century By Dutch Maestro Still life with bird, carp & lobster Oil on canvas
Located in Milano, Lombardia
17th Century Dutch Maestro
Title: Still life with bird, carp & lobster
Medium: Oil on canvas
Dimensions: without frame 116 x 97 cm - with frame 153 x 133,5 cm
Antique frame "a casset...
Category
17th Century Old Masters Art
Materials
Canvas, Oil
A Lively Naval Engagement
Located in Wiscasett, ME
Oil on panel measuring 21" x 24.5," including the frame. The painting is signed in the lower right corner, but we cannot attribute the signature. Probably dating from the late 19th ...
Category
Late 19th Century Old Masters Art
Materials
Oil
17th-18th Century By Hendrick Govaerts Genre Scene Oil on Canvas
Located in Milano, Lombardia
Hendrick Govaerts (Mechelen, Belgium, 1669 - 1720)
Title: Genre Scene
Medium: Oil on canvas
Dimensions: without frame 48.5 x 60 cm - with frame 63 x 72 x 6 cm
Oral Expertise by Lisa...
Category
Late 18th Century Old Masters Art
Materials
Oil, Canvas
William Hogarth's "Analysis of Beauty": A Set of Two Framed 18th C. Engravings
Located in Alamo, CA
The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs.
These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition.
The "Analysis of Beauty" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Fine Arts Museums of San Francisco.
The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe.
A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene.
The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate.
Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...
Category
Mid-18th Century Old Masters Art
Materials
Engraving, Etching
Portrait of William Herbert, 3rd Earl of Pembroke, Early 17th Century Portrait
Located in London, GB
English School, (circa 1600)
Portrait of William Herbert, 3rd Earl of Pembroke
Oil on panel, oval
Image size: 29¼ x 23⅞ inches
Painted wooden frame
Provenance:
176, Collection of Francis Greville, 1st Earl of Warwick.
The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle).
Sotheby’s, London, 22nd March 1968, lot 81.
Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree.
It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period.
This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described;
‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’
As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface.
The portrait eventually ended up being hung in the State Bedroom of Warwick Castle.
Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623.
The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I.
His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots.
Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries.
In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964).
Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...
Category
Early 17th Century Old Masters Art
Materials
Oil, Wood Panel
Two Beggars - Engraving after Rembrandt - 19th Century
Located in Roma, IT
Two Beggars is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition of the 19th...
Category
19th Century Old Masters Art
Materials
Engraving
Egyptian Figure - Etching Hand Colored by L. Pizzi After A. Tofanelli
Located in Roma, IT
“Idolo Egizio” - Image Dim: cm 48 x 33, Dim: cm 59 x 44.
Precious Etching on copper: Hand-colored subject on black ink bottom. Designed by Agostino Tofanelli and engraved by Luigi ...
Category
1790s Old Masters Art
Materials
Etching
Hand Colored 18th Century Homann Map of Austria Including Vienna & the Danube
Located in Alamo, CA
"Archiducatus Austriae inferioris" is a hand colored map of Austria created by Johann Baptist Homann (1663-1724) and published in Nuremberg, Germany in 1728 shortly after his death. ...
Category
Early 18th Century Old Masters Art
Materials
Engraving
Portraits of the Hon. Mary Shuttleworth and Anna Maria, 9th Baroness Forrester
Located in London, GB
THE HON. MARY SHUTTLEWORTH, NÉE COCKBURN (D. 1777)
and her sister
ANNA MARIA, 9TH BARONESS FORRESTER (D. 1808)
Pastel and gouache on paper laid on canvas, on their original backb...
Category
18th Century Old Masters Art
Materials
Pastel, Gouache
Old Masters art for sale on 1stDibs.
Find a wide variety of authentic Old Masters art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of orange, yellow, blue and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Charles Amand Durand, Giuseppe Vasi, Thomas Holloway, and Vincenzo Campana. Frequently made by artists working with Etching, and Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Old Masters art, so small editions measuring 0.4 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $11 and tops out at $1,495,000, while the average work sells for $546.