Renaissance Art

Representation of the San Domenico di Camerino Altarpiece, painted by Carlo Crivelli in 1482, and made by Antonio Pandiani in the 19th century.

Giovanni Agostino Cassana (c.1658 – 6 May 1720) Venetian Birds with an Upturned Basket of Fruit Oil on canvas: 25 x 35 in. Frame: 33 x 43 in. The canvas is unsigned Abate, or Gio...

Gillis Mostaert Hulst 1534 – 1598 Antwerp Flemish Painter 'Adoration of the Shepherds' Medium: oil on panel Dimensions: image size 38,5 x 46,5 cm, frame size 54 x 62 cm Provenance...

Copper-line engraving by Jacobus Houbraken (1698-1780) after Peter Lely. Houbraken was a Dutch engraver famous for his series of portraits of famous English historical figures with elaborate cartouches. Originally published 1739, this impression c1820. 360mm by 230mm (platemark) Henry Bennet, 1st earl of Arlington, 1618-85, was an English statesman who fought for the royalists in the English civil war...

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 ...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 23 x 18 inches Condition: Good Prov...

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

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Eli, 2020 Oil on Panel with Carved and Gilded Frame, 11.5 x 13.5 inches An embodiment of Renaissance portraiture, Varpucanskis’s “Eli” is distinguished by its gentle charm and mat...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt & Wood Tavolette Book Cover Binding In The Sienese Biccherna Aesthetic. Book Cover size 11 inches x 8.1 inches ( 28cm x 20.5cm ). Frame size 16 inches x 13 inches ( 40.5cm x 33cm ). Available for sale; this painted gesso and gilt “tavolette” wooden book cover in the Biccherna aesthetic is by Icilio Federico Joni. The book cover is mounted and supplied in a contemporary black Tulip Wood frame (which is shown in these photographs) which is glazed with non-reflective Tru Vue UltraVue® UV70 glass. The wooden book cover is curved and float mounted giving a wonderful 3D depth to its presentation. The gesso and painted surfaces have benefitted from professional restoration which was performed on our instruction, supervision and approval. This antique book cover is in very good condition, commensurate with its age. The frame presentation is new and in excellent condition. Combined, it wants for nothing and is supplied ready to hang and display. The story of these panels and of their artist is fascinating, and begins in 13th century Siena: The Biccherna was the person who held the position of Magistrate of Chancellery of Finance from the 13th to the 14th century for the republic and the city of Siena, in the Tuscany region of Italy. The records of that office were very important because Siena was one of the earliest and most significant banking centres in Italy, and indeed in Europe. It became the fashion to keep banking and taxation records of the region in large books with painted leather covers. These were originally made from wood and leather. In the competition to make these ever more prestigious the bindings and panels on the front and rear of the books were painted by the major artists of the day, such as Giovanni di Paolo. Many of these mainly secular covers are displayed in the Archives of the State of Siena located in the Palazzo Piccolmini. The Gothic Revival of the 19th century occurred partly as a reaction against the progress of industrialisation in Europe generally. It was however greatly affected by the unification of Italy in the second half of the 19th century. This led to the closure and downsizing of many religious institutions, which resulted in the dispersal of thousands of works of art dating from the Middle Ages and early Renaissance. Many aristocratic and bourgeois families struggled to pay debts or simply to make ends meet and so they sold off their private collections and family heirlooms. There was then an influx of goods into the antiques market which provided a great deal of work for Italy’s restorers and craftsmen, since many of these pieces were in need of cleaning, repair and, in keeping with the interventionist tastes of the times, radical restoration, before they could be sold on, often to foreign buyers. These early Italian works became so fashionable that demand soon outstripped supply. This in turn gave rise to a new type of artist-craftsman capable of turning out from scratch increasingly convincing reproductions, imitations and out-and-out fakes. Siena naturally became the epicentre of this thriving cottage industry because of the extraordinary continuity there in traditional craft skills. This technical expertise had been handed down from generation to generation, and it was perhaps inevitable that a number of artists with real talent, the flair of commerce and a genuine love and understanding of antique Sienese art should adapt their skills to these new market conditions. Among these artists were Igino Gottardi, Alceo Dossena, Fulvio Corsini, Umberto Giunti...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

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...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

The School of Stoics brings the viewer into an airy evening discussion at an agora overlooking the Aegean Sea. Amidst the silent water and grained marble, a group of stoics debate logic, reason, and nature. Agreement and disagreement prevail in the noble gestures of their bodies. Soon you see an individual's gaze directed towards you, raising their hand, calling you to join the conversation. Technical: 53” x 39”. Tempera on panel with 24k gold water-gilded frame. Painting and frame produced by artists Justas and Vilius Varpucanskis. This piece utilizes the "rules of craftsmanship" as outlined in Cenino Cennini's Il Libro dell'Arte. 21st century contemporary artwork that employs techniques, philosophy, and visual language of the Italian High Renaissance...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1964 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of...

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...

Portrait on Slate of Pope Innocent XI (Benedetto Odescalchi), 17th century Technique: Oil on slate ( Black stone) Dimensions 14 × 11.5 cm. Work to be restored. This small-format p...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 23 x 18 inches Condition: Good Prov...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Bronze statue of young goatherder by Oscar Gladenbeck. circa 1900. Signed "Oscar Gladenbeck Friedrichshagen". period sculpted artist sculpture collectio...

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

Set of Four Chinese Paintings in Rosewood Frames, Signed, 19th Century, Oil Canvas Stunning example of Oriental works on canvas on wood. Each in a fine custom rosewood frame, matted...

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 ...

Etching black and white from Civitates Orbis Terrarum. View of the Old Mexico City, built over the ruins of the Aztec city of Tenochtitlán from 1520, and Cusco, ancient capital of th...

Doménikos Theotokópoulos, After, Greek (1541 - 1614) - Head of Christ, Year: Printed: circa 1970, Medium: Poster, Image Size: 23.5 x 18 inches, Size: 29 x 23 in. (73.66 x 58.42 c...

This photograph captures the timeless beauty of an aged 18th-century Italian fresco painting. The artwork features potted orange trees, their vibrant green foliage and citrus fruits ...

Copper-line engraving by Jacobus Houbraken (1698-1780). Houbraken was a Dutch engraver famous for his series of portraits of famous English historical figures with elaborate cartouc...

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

The painting is about the Florentine school and a seventeenth-century Italian school. Oil on canvas without signature After Lorenzo Lippi (1606–1665) who was a prominent Florentine...

Mounted as lamps and cast by Ferdinand Barbedienne after models by Alexandre Falguiere and Paul Dubois. Both statues are signed on the bases. These fine torchères are reductions of...

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

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

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

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...

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

After Lorenzo Lippi (Florence, May 6, 1606 - Florence, April 15, 1665) is a Baroque painter of the Florentine school and a seventeenth-century Italian poet.

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...

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...

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...

Italian sculptor (15th-16th century) — Bust of Christ. 34 x 20 x h 44 cm. Carved stone with traces of polychrome. This remarkable carved stone bust depicts the face of Christ wit...

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...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 18 x 23 inches Condition: Good Provenance: E...

This work, by Fidel Santos, depicts a Pompeiian fresco resplendent with lush fruit trees and avian life against a backdrop of idyllic hills. The vibrant c...

Flight into Egypt, Northern Painter Active in Rome, Early 17th Century. Northern painter active between Rome and the former Low Countries. Early 17th century. Oil on panel, cradled....

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

This photograph captures the timeless beauty of an aged 18th-century Italian fresco painting. The artwork features potted orange trees, their vibrant green foliage and citrus fruits providing a striking contrast. Set against the backdrop of an expansive Italian countryside, the landscape unfolds with rolling hills and distant vistas. The significance of the orange trees in the fresco is deeply rooted in the historical context of 18th-century Italy. During this period, the cultivation of citrus fruits, including oranges, became a symbol of prosperity and luxury. Italy, with its favorable climate, was a prime location for cultivating oranges, and their presence in frescoes often represented affluence, abundance, and the beauty of the Italian landscape. Fidel Santos...

Corpus Christi in argento massiccio, bottega orafa toscana, prima metà del 17 secolo. La figura del Cristo, realizzata a fusione a cera persa e sapientemente rifinita a cesello, app...

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

This enchanting photograph captures the essence of an 18th-century-style portrait featuring a regal dog. Poised at attention, the canine exudes an air of majesty, adorned with a splendid blue collar that accentuates its noble bearing. This depiction seamlessly merges the grace of classical portraiture with the timeless charm of a loyal and dignified companion. Fidel Santos...

‘Petrarch’s First Sight of Laura’ early 19th century oil painting by Henry Nelson O’Neil British, c. 1840 Canvas: Height 129cm, width 176cm Frame: Height 165cm, width 207cm, depth 12cm Painted by a renowned Victorian artist, Henry Nelson O’Neil (British, 1817-1880) around 1840, this very fine oil on canvas depicts the first meeting of Petrarch and Laura in a Church in Avignon in 1327. Petrarch (1304-1374) was an Italian Early Renaissance...

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

In this profound image by artist Fidel Santos, the essence of time unfolds in the weathered face of an aged statue. Capturing the close-up view of a visage marked by wide eyes and a ...

This striking photograph captures the timeless essence of a Roman marble bust, portraying a handsome male leader with thoughtful details. The subject, seemingly untouched by the passage of centuries, emerges from the stone with a head of naturally falling curly hair. The face, in profile, emanates strength and resilience as the leader gazes steadfastly into the distance. Symbolic of the Roman Empire's grandeur, the bust stands as a testament to the strength and authority that characterized that ancient civilization. As the Roman Empire eventually faced the challenges leading to its fall, this marble bust endures as a silent witness to the ebb and flow of history. Marble, known for its enduring nature, further enhances the longevity of this artistic documentation. The photograph captures not just a static representation of a bygone era but a dynamic convergence of time, where the resilience of the stone mirrors the enduring legacy of the Roman Empire. This work is a photographic digital print on plexiglass cut to the form of the bust. Fidel Santos...

Our Lady of Mercy, 2021 Oil on Panel with Carved and Gilded Frame, 8 x 14 inches A work of spiritual devotion, Justas Varpucanskis’s “Our Lady of...

An evocative, 14th century, carved wood statue of a seated Mary with the Christ child in her lap. The piece with a beautiful patina featuring polychrome paint traces. Now mounted on ...

Riratto con Paesaggio, 2019 Oil on Panel with Frame, 11 x 14 inches A quiet and contemplative portrait painting, "Ritratto con Paesaggio", by Justas Varpucanskis, presents a sooth...

'George I' Copper-line engraving by Pierre Francois Basan (1723-1797) after Founan. Basan (1723-1797) was a French engraver and publisher. George I (1660-1727) was King of Great Britain and Ireland from 1 August 1714 until his death, and ruler of Hanover in the Holy Roman Empire...

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

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...