Dirk Maas Paintings

Alexandre Ubelesqui (Paris, 1649 - 1718) Allegory of the Peace of Nijmegen Oil on canvas, unsigned 22 7/8 x 28 3/8 in 58 x 72 cm Provenance: Probably the sketch presented by the a...

Oil on canvas 33 x 48 ½ inches; 840 x 1235 mm Painted c. 1793 Collections: George Romney; By descent to Elizabeth Romney (1832-1893), the artist’s granddaughter; Romney sale, Chris...

'Providenza' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inche...

A beautiful 19th century copy by Giuseppe Rocchi of Baldassarre Franceschini's Sleeping Cupid, presented in a very attractive gilt frame with hand carved mouldings. A very peaceful i...

Luca GIORDANO (Naples 1634 – 1705) The Judgement of Solomon, circa 1670 Oil on canvas 38 × 48 cm - Unsigned Collection stamp on the reverse depicting a Roman intaglio. The same ma...

Early 20th Century Study of Rembrandt’s Portrait of Old Woman Russian for Niello Engraving A wonderful study of Rembrandt’s portrait of an Old Woman used for Niello engraving by Ru...

'Mgnaminia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches...

Crucifixion, studio of the Master of the Half-Figures (Antwerp, active 1500-1550), not signed Antwerp School, mid-16th century Oil on oak panel , h. 88 cm, w. 59 cm Original frame, framed: h. 98 cm, w. 68 cm A rare example of Antwerp painting from the first half of the 16th century, our Crucifixion captivates as much by the quality of its expansive river landscape as by the delicacy of its figures and the brilliance of its palette. The richness of the colors, the balance between devotion and narrative, and the subtlety of the atmospheric effects make it a particularly representative work of the artistic refinement developed in the workshop of the Master of the Half-Figures. Through its remarkable synthesis of the world-landscape inherited from Patinir and the expressive gentleness characteristic of the Master of the Half-Figures, this composition stands out as a particularly accomplished example of the Antwerp Flemish Renaissance. Our painting of the Crucifixion is organized around the central figure of Christ nailed to a high cross erected atop Golgotha. His slender, pale body stands out against a blue-green sky that lightens towards the horizon, creating an atmospheric depth characteristic of Flemish painting of this period. The bowed head, encircled by the crown of thorns, expresses agony in a restrained pose. The white loincloth, tied at the front according to a recurring motif in the work of the Master of the Half-Figures, has one end drawn between the legs before billowing outwards in a movement lifted by the wind, subtly animating Christ's silhouette. At the foot of the cross, a skull and a few bones evoke Adam and the redemption of humanity through Christ's sacrifice. To the left stands the Virgin Mary, enveloped in a flowing blue-green mantle whose heavy folds accentuate her contemplative posture. Her pale face, framed by a white veil, expresses silent sorrow. Kneeling at the center of the composition, Mary Magdalene embraces the cross in a gesture of fervent devotion, while to the right, Saint John, clad in a richly textured red cloak, gazes up at Christ, his hands folded across his chest. Contrary to the iconography typically found in 16th-century Antwerp workshops, he appears here as a bearded, middle-aged man. This relatively rare characteristic, however, is found in several works by the Master of the Half-Figures. The Virgin's face displays the typical characteristics of the Master of Half-Figures' repertoire : a high forehead, full cheeks, a rounded chin, and a gentle expression tinged with restrained melancholy. This youthful, feminine physiognomy is found in numerous depictions of Virgins, Magdalenes, and other saints from his workshop. The figures are also distinguished by their smooth complexions, elegant proportions, and attention to the richness of the fabrics, favoring formal refinement over dramatic expressiveness. The background unfolds according to the world-landscape formula inherited from Joachim Patinir. A vast panorama, blending a fortified city, estuary, winding paths, rocky outcrops, and bluish hills, stretches behind the sacred figures. At the heart of this lively river landscape, a small port, quays, and several boats also appear, their silhouettes punctuating the waterway and testifying to the attention paid by Antwerp painters to the commercial and maritime activities that ensured the city's prosperity. The composition is structured by a succession of narrative planes that invite the viewer's eye to move through the image as a continuous story, a technique characteristic of Antwerp painting in the first half of the 16th century. Behind the main scene appears the episode of the Carrying of the Cross, depicted by a group of soldiers and horsemen, with Golgotha rising on the mountain to the left, while to the right, in a grotto carved into the rocks, unfolds the Entombment of Christ. This multifaceted narrative, integrated into the landscape, enriches the meditative dimension of the work while highlighting its kinship with the inventions of Patinir. The attribution to the workshop of the Master of the Half-Figures seems all the more plausible given that several art historians, notably Robert Koch and Walter Gibson...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

'Napoli' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

Italian School, late 19th century Christ in the Garden of Gethsemane miniature painting, framed framed: 3.5 x 3 inches image: 2.5 x 2 inches provenance: private collection, Italy con...

'India' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches con...