Renaissance Art

Artist/ School: Italian School, late 19th century Title: Head & Shoulders portrait of the Madonna in Contemplation Medium: oil on canvas, framed Framed: 18 x 15 inches Canvas: 14 ...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

The Holy family with St. Joseph and St. Anna. Tuscan school. Late mannerist period, Circa 1610. Oil on canvas. Size 102cm x 77cm Painting by an unknown Tuscan painter from the lat...

Provenance: Palazzo Pisani at San Stefano, Venice Mrs. F. Craighead (possibly Mrs. Fay Stinson Craighead, Evansville, Indiana) Sale, Sotheby Parke Bernet, New York, 7 June 1978, lot 310, as Bonifazio Veronese Daniel M. Friedenberg, New York, until 2011; and by descent to: Russell Friedenberg, until 2014 Literature: Giuseppe Pavanello, Gli Inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia, Venice 2006, pp. 132, 140, as no. 10 in Pietro Edwards’ inventory of the Palazzo Pisani: “Giuseppe che fugge dalla moglie di Pitifarre” by Bonifacio Veronese. Philip Cottrell and Peter Humfrey, Bonifacio de’ Pitati, (forthcoming), cat. no. 166h. Antonio Palma is the least well-known member of the illustrious Palma family of Venetian painters of the 16th century. He was the nephew of Jacopo Palma—Palma il Vecchio—and upon his uncle’s death in 1528, he began to work with Palma Vecchio’s principal student and the inheritor of the elder artist’s studio, Bonifazio de’ Pitati (Bonifazio Veronese). Antonio worked with Bonifazio as his principal assistant and right-hand man until Bonifazio’s death in 1553, after which he continued his independent career. He married a niece of his master, and their second son, Jacopo, born in 1648, would achieve fame as Palma il Giovane...

This acrylic on canvas painting is of a Renaissance Madonna. Framed beautifully, this spiritual portrait is of a graceful moment. The cerulean blue fabric is used to represent extrav...

Oil Painting of a Minotaur. Bright Blue painting by Cuban Artist Jesus Nordarse. Oil on Canvas. 8 x 11 inches. THE MAN: Jesús Nodarse Valdés w...

Roni Taharlev's "Aya Sitting" is a poignant 55" x 33" oil on canvas that showcases the artist's masterful grasp of figurative nude painting. In subdued, earthy tones set against a ri...

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...

Circle of Amico Aspertini Oil on panel, 59x31 cm. Provenance: Asta Pandolfini 8 marzo 2023 lot. 47. He was born in Bologna to a family of painters (including Giovanni Antonio Asperti...

Sacred Conversation: Madonna with child with St. John with idealized landscape background with mountains. Early XVI century. Oil on wooden panel of Venetian conifers. Marco Bello, attributed. (Venezia, 1470 - 1523, Udine), pupil and follower of Giovanni Bellini. Venetian school. Madonna with child with St. John with idealized landscape background with mountains. Dimentions: 57cm x 68cm x 6cm Beautiful late Renaissance frame...

Wonderful late 19th Century of two cupids forging gold drawn from a section of the 1st century CE cupids frieze from the triclinium or dining room from the House of the Vetti in Pomp...

This piece from Berlin's studio dates back to 2003 but has only now been released. She's an a la mode young woman from the halcyon days of the Belle Epoque; confident and bewitching ...