Renaissance Art

ARTIST - Pierre-François Basan (Paris, 1723–1797), after Rembrandt van Rijn (1606–1669) // PERIOD - Engraved in the second half of the 18th century; 18th-century impression // ORIGIN...

Madonna and Child with St. John the Baptist Italian artist, 18th century, after the earlier painting by Raphael, unsigned oil on wood panel, framed in an Empire, gilt moulded frame F...

Circle of Jacopo Bassano (Bassano del Grappa 1510 - Bassano del Grappa 1592) - Lamentation over the Dead Christ. 58.5 x 72 cm. Oil on canvas, unframed (not signed). The work repro...

The Virgin Madonna Spanish Renaissance artist, circle of El Greco (1541-1614) circa 1600 oil on wood panel, unframed panel: 20 x 14.5 inches Provenance: private collection, northern ...

Museum-quality gold ground painting from the Renaissance period by Smeraldo di Giovanni. It depicts the “Virgin of the Roses” seated on a throne h...

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...

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

"The Bust Portrait" French School, 19th century. charcoal drawing on paper, unframed. painting: 23.5 x 17.75 inches Condition report: The painting is in good and sound condition, ...

Anonymous 16th Centery Italian Leaf from a Gradual: Communion for Saturday of the Third Week of Lent and Introit for the Fourth Sunday of Lent (“Laetare Ierusalem”) Ink, red and blue...

Large out of print exhibition poster for Flandrin at the Louvre in 1989. Paper Size: 38.75 x 54.75 inches ( 98.425 x 139.065 cm ) Image Size: 38.75 x 54.75 inches ( 98.425 x 139.065 ...

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...

"Que pico de Oro" (What a Golden Beak) - Etching and Aquatint on Paper 5th or 8th edition print of "Que pico de Oro" from the Los Caprichos with burnished aquatints, drypoints etchi...

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...

Oleg Auzers was born in Latvia, Riga into an old family of artists. He created his first toy ship at preschool age while visiting his grandfather Vilis Liepins in Limbazi. As a teena...

Italian sculptor (17th–18th century) - Pair of archaic lions. 30 x 12 x h 17 cm each. Pair of figures in carved walnut wood. The two lions, carved in the round, are depicted in a ...

Portrait of noblewoman, known as "the Little Princess of Longueville," attributed to Jean Ducayer (1595-1685). Oak plank, one board, not parqueted. Jean Ducayer, a court painter...

This historic late 16th-century oil painting, attributed to the Spanish School, depicts Saint Roch, or San Roque, the celebrated pilgrim-saint invoked for protection against plague a...

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...

Full Length Portrait Renaissance Gentleman Sword Costume Historical Portrait Continental (we feel Spanish) School, 19th century oil on canvas, framed framed: 61.5 x 42 inches canvas:...

This monumental 19th-century European Historicist oil painting on canvas depicts a young boy in Renaissance page attire holding the elaborate ceremonial parade armor and shield of Ho...

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...

19th/ early 20th Century Italian School unsigned Madonna and Child oil painting on canvas, unframed canvas: 32 x 24 inches provenance: private collecti...

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

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 man, encompassing all disciplines of the arts. He enjoys painting, drawing, writing, architecture, sculpture, and interior design. Le Mair was born in Eindhoven, The Netherlands in 1944. He began drawing and painting at the young age of five and while in kindergarten, he was often made to show his paintings in other classes even though he was shy about doing so. “When I could not play outside because of bad weather, I would sit in my bedroom and would draw.” His early art studies were widely influenced by the Rembrandt exhibit in the Rijksmuseum (1956) that he attended with his father. There le Mair was inspired by the Old Masters and “the desire to unravel all the mysteries hidden under the cracked varnish” began. Already having painted a lifesize copy of “The Nightwatch” on the wall of his bedroom, le Mair was continually driven by the Rembrandt exhibit. He began to experiment with resins, pigments and oils in order to hone and perfect the technique of the old masters. He studied drawings and paintings and early on developed the feeling of color and composition. After completing high school, he worked for a short period as a designer of woven fabrics. Although his heart desired to paint, he enjoyed having a pencil and brush in hand and a case full of art books and says, “This treasure of inspiring information took me further on track to the traditional trade.” At this same time, le Mair’s artistic endeavors led him to learn the art of music. First learning to play the guitar from friends, he began performing at youth centers. This love of music expanded into him learning to play the mandolin, turning lye, banjo, and bagpipes. Just after his eighteenth birthday, le Mair was accepted into military service where his lack of conforming led him to a maximum solitary confinement sentence. After a month in training, the army physician and le Mair agreed that he was born to be an artist and released le Mair from military services. Once he returned home, with the encouragement from his parents, le Mair began his art schooling at the Art Academy (Kustacademie) in ‘s-Hertogenbosch, The Netherlands. There he found that the school was geared for modernism and after painting a portrait of a fellow classmate, his teachers advised le Mair to look for a school where the traditional ideas were still taught. Longing to study the classical arts, he applied and was accepted to the Academy of Fine Arts (Koninklijke Kunstacademie) in Antwerp, Belgium in 1965. After studying under Professor Victor Dolphijn, le Mair graduated cum laude in portrait and figure paintings in 1968. He was then promoted to study as a student of the Higher Institute, a structure at a higher university level where he studied under Rik Slabbinck...

Ittenbach Franz Königswinter 1813–1879 Düsseldorf German religious painter 'Jesus of Nazareth' Signature: signed lower right 'F Ittenbach' Medium: oil on canvas Dimensions: image s...

Artist/School: After Filippo Lippi, Italian 1406-1469. The work is most likely by an English hand, late 19th century Title: The Adoration of the Christ ...

Italian, 17th century Carved Wood Internal measurement (to house painting or mirror): 6 x 6 inches Overal outer measurements: 10 x 10 inches Provenance: from a collection in England ...

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...

Drawings by Italian Masters of the XV-XVIII Centuries. From a selection of 40 reproductions of the originals preserved in the Albertina Collection in Vienna. With an introduction and...

Coronation of Venus, 2021 Oil on Panel with 24k Gold Water-Gilded Frame, 114 x 78 inches “Coronation of Venus,” an ornamentally enriching piece from the studio of Justas and Vilius...

First of all, it’s not from Renaissance Italy, and certainly not by Leonardo. The artist is likely Cehaku Okamoto (Japanese/American, 20th Century). And this painting should be title...

Paper Size: 38 x 18 inches ( 96.5 x 45.5cm ) Image Size: 32.75 x 18 inches ( 83 x 45.5 cm ) Framing available upon request Condition: B: Very Good Condition, with signs of handlin...

This grand mural unveils a mesmerizing Baroque-style etching that commands attention with its celestial drama. The expansive sky serves as a vast canvas, adorned with flowing circula...

This piece is from a collection of originally designed etchings with drypoints by Rembrandt. It is printed on Ingres D'arches off-white laid paper. The prints are the sixth and final state Posthumous Impression. Printing plates were made in 1650, this collection was printed in 1998. Rembrandt van Rijn was one of the masters of the landscape genre in his prints and drawings. In his etching, "Landscape with a Cow...

In case your ancestors missed acquiring art in France or Italy during the Renaissance, this oil painting on canvas is an antique, high-quality historical reproduction that can stand ...

In this poignant photograph, the lens captures the profound essence of an aged Spanish polychromed wood statue of María Magdalena. The weather...

A polychrome and gilt plaster statue of the Blessed Virgin Mary. The quality of the original gilding and the handling of the folds in the clothing are exceptional. A wonderful statu...

The last major event dedicated to Chardin was held in 1979 at the Grand Palais in Paris, celebrating his timeless masterpiece, Girl with Racket and Shuttlecock. This striking, oversi...

A lovely early 20th century printed porcelain miniature of The last supper painting after Leonardo Da Vinci in Italian Cenacolo. This Swiss Fr...

A Re-discovered Masterpiece of the Venetian Quattrocento: Cima da Conegliano (1459–1517) and Workshop — "Madonna and Child (Madonna Lactans)", c. 1489-1492. DESCRIPTION: A rare, new...

Wooden sculpture depicting Saint Catherine of Alexandria Provenance Lower Rhine or Southern Tyrol Late 15th century (circa 1480) Linden wood (single trunk, hollowed back), trac...

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...

An exceptional 19th-century patinated bronze figure of the "Dancing Faun" (or Satyr), after the celebrated Hellenistic original discovered in 1830 at the House of the Faun in Pompeii...

Bronze Edition of 2/8. Emil Kazaz’s sculptures hold a commanding presence, distinguished by their dynamic figurative language and masterful craftsmanship. Working primarily in bronze...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Harmony This painting feels especially important in understanding Bruno Surdo’s artistic roots because it is not simply an homage to Raphael — it is also a return to one of the forma...

16th-century Florentine sculptor, greyhound in pietra serena. This fascinating sculpture, which has come down to us in a fragmentary state, depicts a dog, an elegant greyhound crouch...

The Head of Christ 19th Century Dutch School oil on paper laid down on board, unframed size: 7.5 x 6 inches private collection The painting is in overall very good and sound condition

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of I...

ARTIST - Workshop of Alessandro Allori (1535–1607) // PERIOD - Circa 1570–1580, 16th Century // ORIGIN - Florence, Italy // MEDIUM - Oil on Copper // STYLE - Late Florentine Renaissa...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Albrecht Dürer Ecce Homo, 1512 Engraving on paper 4 1/2 x 3 inches Provenance Kennedy Galleries, New York, 1974 Private Collection of Emil Shasha, New York Estate of the above, New ...

Attributed to Peter Candid / Pieter de Witte (Bruges c. 1540 - 1628 Munich) Sacra Conversazione Oil on wood, 29 x 37 cm The painter, sculptor and architect Peter Candid, known in Italy as Pietro Candido, was born in Bruges between 1540 and 1548. In the 1560s he stayed in Florence, where he worked in the workshop of Giorgio Vasari, with whom he collaborated on a number of commissions for the House of Medici. After a brief stay in Volterra, he went to Munich in 1586. For the next 42 years, until his death, he remained court painter to Duke William V...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

Lofty pair of gouache paintings on paper both painted in Naples with a view of the bay with boats and figures against the background of Mt Vesuvius, executed in classic Italian style...

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

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...

After Leonardo da Vinci (Vinci 1452 – 1519 Amboise) Caricature of an Old Woman Pen and ink on paper 2 ¾ x 2 ¾ inches (7 x 7 cm) Provenance: Private Collection, USA, until 2022. Thi...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...