The Feast of Balthazar, Frans FRANKEN II and workshop, 17th c.

A gallant scene portraying a man courting a seated young woman holding a glass in her hand. A young dog in the foreground is watching two characters in the background, one of whom i...

Venetian work, second half of the 15th century Tempera on panel 34 x 23 cm An episode from the Passion of Christ during the trial of Pontius Pilate, the Roman procurator, concerning ...

Coriolan's mother and wife beg him to spare Rome , Oil On Canvas . German School Circa 1750 This painting represents the story of Coriolan, Roman general and leader of the Patrici...

An oil on wood panel representing genre scenes occurring in the XVIIIth century. but painted around 1870-80, signed lower left P. van Wijngaerdt. Two servants are clearing a table ...

Frans Franken III and aid, Adoration of the Magi Good condition The oil painting on wood, with a gold background, depicts an Adoration of the Magi. The Magi are dressed in sumptuous silk and brocade dresses; they wear precious hats and jewelery. The richness of their garments is in contrast with the humility of the Holy Family and of the other characters who, around curious, observe the scene. The hut is simple, made of wood and straw: above it shines the Comet, symbol of the divine event. In the distance, a group of wayfarers walk along a path that is lost on the horizon, blending into the gold of the bottom. The representation proposes a traditional iconography, in which the painter inserts some details that he lends himself to symbolic interpretations. Among these is the appearance of the Magi, who from the XIVth century differs iconographically: the wise astronomers represent the homage to Jesus of the then known parts of the world, namely Africa, Asia and Europe. To the right of the Magi, in the foreground, sits a monkey, considered a demonic creature and a symbol of lies and sin. It is depicted on the sidelines, as a defeat, next to a fragment of a classical column: ruin alludes to the end of paganism, of the old world that collapses with the advent of the new one, marked by the birth of Christ and liberation from the Original Sin. On the ruins he climbs the ivy, symbol of the immortality of the soul. The work is attributable to the workshop of the Flemish painter Frans Francken III...

Pieter Van Lint (Antwerp, 1609-1690) Allegory of industriousness leading to peace and abundance Oil on copper; frame measures cm H 132 x W 159 x D 8, copper measures cm H 104 x W 130 Artwork signed (bottom center) "P.V. Lint F./ en A.B" The important and valuable painting, made of oil on copper, depicts the Allegory of industriousness that leads to peace and abundance. The work is signed in the bottom and center "P V Lint", or Pieter Van Lint (Antwerp, 28 June 1609 - Antwerp, 25 September 1690), famous Flemish painter and designer active in Antwerp in the second half of the seventeenth century. Van Lint elaborates a complex and articulated composition in which he inserts several figures also drawn from mythology to propose the allegorical message of industriousness that leads to peace and abundance. The artistic style of the author is characterized by meticulous realism and by the careful attention to detail and the rendering of the materials that make up the objects described. As we will see later, every detail represented within the work contains a symbolic and allegorical meaning that reinforces the message that already the same figures express. The remarkable dimensions of the copper support, not so infrequent in the artistic production of the artist, contribute to make the work of great value: Unfortunately, many of these artifacts have been lost because copper was often recovered in times of war and famine, and reused to obtain weapons and common tools. The copper foil proved to be ideal for oil painting because it constituted a non-absorbent support, rigid, smooth and characterized by the same reddish coloring that was used for the preparation of funds. The major production centers were Antwerp, Hamburg and Amsterdam, although the technique was widely used in Italy. The considerable cost of the material indicates a wealthy client, interested in possessing a valuable and durable work over time, this characteristic that the metal foil has more than the canvas. The painting is known to scholars. It is recorded in the catalog of the artist of the RKD Netherlands Institute for Art History (with measures 104 x 129 cm). He also appeared on the French antiques market...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

Antique Italian painting from the mid-17th century. Oil on canvas artwork, first canvas, depicting a biblical episode of great charm, Herod's banquet, of excellent pictorial quality....