Pieter Bout Art

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

Venice - Mario De Angeli - Italia 2006 - Oil on canvas cm. 70x90. Mario De Angeli's canvas is an extraordinary work of Italian landscape painting. They are inspired by the landscap...

Amaizing 19' century Roman landscape depicting a part of Villa Borghese with Trinità dei Monti. With a finely carved gilt wood coeval frame. Measurements with frame cm 65 x78 wit...

Northern painter active in Rome in the second half of the 17th century, View of Ponte Milvio Oil painting on canvas 73 x 97 cm in coeval Roman Salvator Rosa frame.

Roman painter (18th century) - Landscape with Wayfarers. 43.5 x 34.5 cm (without frame) - 58.5 x 49.5 cm (with frame). Oil on canvas, in carved and gilded wooden frame (not signed)...

Lamentation of Christ Follower of Anthony van Dyck (Antwerp 1599 - London 1641) Late 17th-early 18th century Oil on canvas (64 x 51 cm. - Framed 77 x 65 cm.) This is a very...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711) workshop The Myth of Apollo and Issa (from Ovid, Metamorphoses, book VI, 122-124) Oil on canvas 65 x 82 cm. - Framed 84 x 99 cm...

Johann c. van der Hagen (1676-c.1745) A British Man O’War in distress on a rocky coast in a storm Signed 'J. vanderhagen' lower right Oil on canvas Canvas size - 38 1/2 x 51 in Framed size - 46 x 59 in Provenance The Collection the Most Hon. Marquis of Headfort at Headfort, Kells, Co. Meath; His sale, Christie's, Important Old Master Paintings, 29 November 1968, Lot 28; Private Collection, Oxfordshire Johann C. van der Hagen was a Dutch-born marine and landscape painter whose atmospheric depictions of ships, storms, and coastal scenes earned him recognition in Britain and Ireland during the first half of the eighteenth century. Although relatively obscure today, he was among the group of continental artists who helped shape the development of maritime painting outside the Netherlands during the late Baroque period. Born in The Hague in May 1676, van der Hagen trained within the strong Dutch tradition of marine painting that had flourished during the seventeenth century. Dutch artists of this era were internationally admired for their technical understanding of ships, changing weather conditions, and the dramatic effects of light upon water. Van der Hagen absorbed these influences early in his career, producing works characterised by animated seas, carefully observed rigging, and a keen sense of atmosphere. At some point in the late seventeenth or early eighteenth century, he moved to London, then one of Europe’s most important centres for maritime commerce and naval power. There he entered an artistic environment already shaped by celebrated Dutch émigré painters such as Willem van de Velde the Younger and his circle. Van der Hagen’s paintings reveal the influence of this Anglo-Dutch marine tradition, especially in his treatment of naval vessels and storm-driven seas. Contemporary records also suggest that his family became connected with artistic circles in London; one source notes that his daughter Bernada married the marine painter Cornelis van de Velde in 1699. Van der Hagen later settled in Ireland, where he appears to have been active from the 1720s onward. Dublin became his principal base, though he travelled widely and worked in several parts of the country, particularly in the south. During this period he established a reputation as a painter of landscapes and especially sea-pieces, which were admired by patrons for their lively handling and dramatic composition. Irish sources describe him as talented but somewhat eccentric and indolent, producing work irregularly and often only when financial necessity compelled him to paint. Among his documented activities was his employment in 1728 by the tapestry manufacturer Robert Baillie...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Landscape with martyrdom of Saint Stephen is an old master artwork realized in 17th century. Mixed colored oil painting on canvas. Includes coeval gilded frame cm. 148x196. The artwork is attributed to Vincent Adriaenssen called il Manciola (Antwerp, 1595 - Roma, 1675) Among the painters who worked in the first half of the seventeenth century it is possible to indicate only the Neapolitan Scipione Compagno (1624-1680) as the author of scenes of martyrs set within a landscape or a view such as, for example, the Martyrdom of Saint Stefano recently hesitated at the Ansorena in Madrid on June 16, 2021. It should be noted, however, that the landscape represented in the painting examined here, characterized by luxuriant vegetation, meticulously represented "in the Flemish style", shows differences with the typical settings of the paintings di Compagno, characterized above all by urban views, visionary architectures or rather arid vegetation. Even the refined figures, so elongated and lanky, represented in our painting, in particular the group of knights in the foreground on the right, are not reflected in the production of the Neapolitan painter. These elements, to which we add the depiction of the Eternal Father amidst the clouds and the detail of the dog in profile in the foreground, instead recall a painter mainly known as a battle soldier, but who was also the author of many works depicting episodes from ancient Rome set within luxuriant landscapes, or rather Vincent Adriaenssen known as Manciola, a painter from Antwerp whose figure has been shed light thanks to recent studies. The group of horsemen represented to the right of the examined painting is, in fact, comparable with other groups on horseback present in numerous works by Manciola such as, for example, in the Triumph of Caesar (Rome, Babuino, 23-03-2010; formerly Florence, Collection Privata, 2006), while similar elongated and somewhat lanky figures, dressed in red, yellow, blue and white, can be found in the three paintings conserved at the Cassa di Risparmio di Pesaro, which in the past were erroneously attributed to the Umbrian painter Francesco Allegrini...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...