Baroque Art

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

SPANISH SCHOOL 18th CENTURY STILL LIFE WITH WALNUTS, MELON, GRAPES AND ORANGE unsigned oil on canvas 15-3/4 x 21 inches (40 x 53 cm.) framed: 24-1/2 x 28-3/4 inches (62 x 72.5 cm.) ...

Artist: William Henry Toms (English, c.1700-1765) Title: "Draught of a Galley" (Plate 13, Vol. III, page 131) Portfolio: La Spectacle de la Nature Year: 1737 Medium: Original Hand-Colored Engraving on laid paper Limited edition: Unknown Printer: Unknown, London, UK Publisher: Humphreys, London, UK Framing: Recently framed in a Regency style gold moulding with rag matting from Holland and museum glass. The frame is an antique frame we've reused, originally built by Knoedler Gallery, New York, NY Framed size: 10.25" x 10.25" Sheet size (irregular margins): 6.63" x 8.25" Image size: 4.75" x 6.75" Condition: In excellent condition with strong colors and good margins Rare Notes: Comes from the 1737 volume edition of Noël-Antoine Pluche's "La Spectacle de la Nature", translated from the original French by Humphreys as "Nature Displayed". With two soft vertical folds within paper as issued. Various dealer reference numbers and an old price pencil inscribed in margins and on verso. Biography: William Henry Toms (c. 1700–1765) was an English engraver. He worked on portraits, book-plates, landscapes and prints of buildings. Among his works were the plates for Robert West's "Perspective Views of All the Ancient Churches in London" (1736–1739). In 1741, he worked with Thomas Badeslade on "Chorographia Britanniae or a New Set of Maps of all the Counties in England and Wales". The maps were republished on 29 September 1742, with additional place names. Among Toms's apprentices was the engraver and publisher John Boydell. W. H. Toms lived in Masham Street, London, and was the father of the painter Peter Toms. Toms died in 1765. Noël-Antoine Pluche (1688-1761) , known as the abbé Pluche, was a French priest...

Philosopher - Ciro De Rosa Italia 2008 - Oil on canvas cm. 60x50 Gold leaf gilded wooden frame available on request The painting by the painter Ciro De Rosa portrays an old and wise ...

The water touches the sky and we find freedom and infinity. Here we play and dance and drink. Here we drink lightness and levity, with the Fruits de Rococo. Inspired by the French wr...

Still life with roses. 2019. Oil on canvas, 60x90 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, wo...

The Martyrdom of Saint Agatha after the painting by his father, Giovanni Battista Tiepolo (see photo) Etching, c. 1780 Signature: unsigned Watermark: Let...

Ferruccio Mataresi (1928 - 2009) Untitled Castle Lithograph Year: Circa 60s Signed and numbered by hand Edition: L (50) Size: 16.5 × 23.0 on 19.7 × 28.0 inches COA provided Ref.: 92...

Isaac and Rebecca had two sons: the twins Esau and Jacob. Esau was the first-born, giving him the birthright. Among Jews the birthright gave the eldest son authority over the family,...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Signed and dated "N MAE / 1691" (lower right) Oil on canvas A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. The work was composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam. Fashionably styled, Portrait of a Noble Lady exemplifies the mature style of Maes, executed with the same artistry and attention to detail he imparted on his most important private commissions. This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with a technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens...

Already in the collection of Emperor Rudolf II in the first decade of the 17th century this composition was famous. The original is by Parmigianino and Rudolf's court painter Joseph Heintz...

18th Century French Sanguine drawing, possibly a preparatory sketch for the painting by Nattier after the painting by Rubens. Presented in shaped 'marie-louise' mount in plain gold wood frame with collection label. The subject is the Queen Marie de' Medici seated on a grand throne, the baby is in the arms of Health while Justice looks over him. Fecundity brings a cornucopia of fruit with the heads of the other children the Queen will bear. The Sun rides his chariot across the sky to indicate that Louis XIII was born in the morning and the calm figure of France surveys the whole scene. An engraving exists (see the Wellcome Collection) of this same image: 'The birth of King Louis XIII', after the engraving by B. Audran the younger after the painting by Jean-Marc Nattier after the oil painting of Peter Paul Rubens in the Louvre 'La Naissance du Dauphin (future Louis XIII) à Fontainebleau, le 27 septembre 1601'. Jean-Marc Nattier (17 March 1685 – 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642–1705), a portrait painter, and of Marie Courtois (1655–1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire. He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644–1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting...

Two putti with symbols of war and victory (cannons, cannonballs, armour, anchor, lion's head, laurel branch/ olive branch, flag, staff with helmet) in pediment triangle. Probably a d...

Claude Lorrain landscape with the God Hermes, Amor and the Muses. Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Countryside with ...

Claude Lorrain landscape with the temptation of Saint Anthony .Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Country...

Transformation. 2021. Canvas, oil, 76x61 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, working in ...

The Market is an original old master artwork realized in the 18th century by an Anonymous Flemish artist. Oil painting on canvas. The artwork depicts a bargaining scene at the marke...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

Still life with flowers and a basket. 2021. Canvas, oil, 76x61 cm Artwork in baroque style and technique. Flowers on black background Arturs Amatnieks...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman "Small Vase" Year: 2021 Porcelain, Glaze, China...

Antique Flemish Baroque painting, 17th century, portrait, Medici. Oil on canvas. The painting is probably attributed to the Flemish painter Justus Sustermns. Pictured is most likel...

(MADE TO ORDER) (Sabbath, Kiddush, Ceremonial Vessel) *Lead Time may vary between 1-3 weeks Melanie Sherman "Yunomi" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k German Gold Luster,...

Pair of Religious Scenes are an original pair of old masters' artworks realized in the 18th century by Anonymous Italian artist. Oil on canvas. Pr...

A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Ernest de Mansfeld's stately yet approachable expression reflects Van Dyck's refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Ernest de Mansfeld was a German military commander during the early years of the Thirty Years War. Donning his armor and an ornate, lace collar, de Mansfeld appears as a strong commander. Without a hint of a smile, he calmly gazes out, the definition of cool and collected. Van Dyck accurately captures the sense that de Mansfeld is a man who takes his job seriously, a man worthy of commanding an army in battle. This portrait is a Mauquoy-Hendrickx State II (of II), engraved by Robertus van Voerst in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people...

Old Master Drawing, Flemish School, Portrait or Sketch of a standing young boy. Condition : see photos.

SALE ONE WEEK ONLY “Putti” is a 19th c. terracotta antique of two nude children, babies, as mythical figures. This piece is beautifully rendered with a...

Knights is an original old masters artwork realized in the first half of the 17th century by Peter Van Lear (called Il Bamboccio). Mixed colored oil painting on canvas. The artwork includes frame: 43x84.5 cm Pieter Bodding van Laer...

Roses. Canvas, oil, 90x65 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, working in realism techniq...

Religious Painting, depicting Madonna and the Child, surrounded by Angels by the Circle of Carlo Maratta (Maratti). This painting is wonderful example of...

Cornelis Schut, atrributed to (1597 - Antwerp - 1655) Mary with Child, St. Elisabeth and John the Baptist en grisaille Oil on wood, 33,5 x 26,5 cm Co...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Poussin’s subject is the abduction of the Sabine women. Historically, this subject was known as The Rape of the Sabines (rape being derived fro...

One flame candle holder putto made of gilded wood. Those kind of objects were present in churches or noble villas, specially during the Baroque times. The base is not coeval.

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculptures in the world. Three intertwined bodies, two men and a woman, spiral upwards as the woman tries to escape the clutches of the younger man standing over the older one. It is an absolute masterpiece by the Flemish sculptor Giambologna. After the original in Florence’s Loggia dei Lanzi, Piazza della Signoria...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

Pair of large oval-shaped baroque mirrors (II / II) Roman master carver of the seventeenth century Carved, lacquered and gilded wood Antique mercury silvered glass mirror 92 x 76 cm. (at the mirror 59 x 43 cm.) We present this pair of prestigious oval-shaped mirrors (of which a second pair is also available, of excellent executive level, which interprets the period of the Italian Baroque in an exemplary way. The works are in carved and gilded wood with a black lacquered background, richly decorated with a deep volute carving with particularly vigorous leaf motifs, coping and lateral ends embellished with cherub heads. This type of boldly carved volute acanthus mirrors...

A very nice painting of a Holy Family, oil on canvas.

(MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster) *Lead Time may vary between 1-3 weeks Melanie Sherman "Just A Little Tipsy" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k Germ...

Baroque 17th century German fountain design Copper-line engraving, published in 1664 in Nuremberg. From 'Architectura Curiosa Nova' by George Andreas B...

Claude Lorrain landscape. Richard Earlom aquatint c1810 by Lorrain, Claude le/Earlom, Richard Countryside with hunters and a deer , by Richard Earlom after Claude Lorrain. Richard ...

Artist: Mark Catesby (English, 1638-1749) Title: "Putorius & Pseudo Phalangium (The Pole-Cat) (Skunk)" (Plate/Tab 62) Portfolio: Natural History of Carolina, Florida & the Bahama Islands *Monogram signed by Catesby in the plate (printed signature) lower right Year: 1771-1810 (third edition) Medium: Original Hand-Colored Etching on cream J. Ruse handmade paper Limited edition: Unknown Printer: Unknown Publisher: Benjamin White, London, UK Framing: Not framed, but recently matted in 100% cotton linen fabric matting with acid-free foam board backing Matted size: 18.88" x 22.38" Sheet size: 13.75" x 21.13" Platemark size: 10.25" x 13.75" Condition: UV staining to sheet and mat stain in margins. Some soft handling creases. In otherwise good condition Very rare Notes: Provenance: private collection - Miami, FL. Comes from Catesby's famous two volume portfolio "Natural History of Carolina, Florida & the Bahama Islands" (1771-1810) (third edition), which consists of 220 hand-colored etchings. "J. Ruse 1800" watermark lower right. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Skunks are North and South American mammals in the family Mephitidae. While related to polecats and other members of the weasel family, skunks have as their closest Old World relatives the stink badgers. The animals are known for their ability to spray a liquid with a strong, unpleasant scent. Biography: Mark Catesby (24 March 1683 – 23 December 1749) was an English naturalist. Between 1729 and 1747 Catesby published his Natural History of Carolina, Florida and the Bahama Islands, the first published account of the flora and fauna of North America. It included 220 plates of birds, reptiles, amphibians, fish, insects, mammals and plants. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Little is known of Catesby's early life. He was born in eastern England in 1683. Although Catesby does not appear to have attended university or studied for the Bar, he was sufficiently educated to write clear English and Latin. His interest in and knowledge of plants may have derived from his uncle, who maintained a botanical garden. Catesby also appears to have benefited from an acquaintance with John Ray, a leading English naturalist of the 17th century and the co-author of an early classic study of birds...

Johann Jakob Haid (1704-1767), engraver Johann Stenglin (1715-1770), engraver Martin van Meytens (1695-1770), inventor Ferdinand Count of Plettenber...

17th Century Old Master, Figurative and Landscape Painting by Jan Van der Bent So far, little is known about the life and work of Jan van der Bent. He was...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

(After) Sebastiano Conca (Gaeta 1680 - Naples 1764) The Adoration of the Shepherds oil on canvas, (cm): 122 x 100, framed The proposed table, datable in the first decades of the e...

Decorative baroque painting, oil on canvas. Princely dance in the castle. Dimensions including frame 94 cm x 77.5 cm Dimensions without frame 79cm x 63cm.

Bust of a Lady, thought to be Elisabeth Petrowna, also known as Elisabeth of Russia Depicted before she was crowned Terracotta Bust Elizabeth Petrovna (Russian: Елизаве́та (29 Decem...

17th century German fountain design Copper-line engraving, published in 1664 in Nuremberg. From 'Architectura Curiosa Nova' by George Andreas Beckley (...

Preparatory Drawing (sanguine on paper, 42 x 28 cm) by Francesco Furini for the making of the Saint Sebastian, ordered by the prince Lorenzo de' Medic...

Mocking of Christ, with all around in grisaille: the Crucifixion, the Resurrection, God the Father, Mankind after the Fall,; in the corners the four evangelists. J. Dijkstra ao, cat. The paintings of Museum Catharijneconvent, Utrecht (Museum Catharijneconvent) 2002, p. 196, pict., as Frans Francken...

Baroque 17th century German fountain design Copper-line engraving, published in 1664 in Nuremberg. From 'Architectura Curiosa Nova' by George Andreas B...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...

The drawing, pencil on laid paper 29 x 27 cm, represents a moment of rest during the Flight to Egypt. It's a study on an etching ispired by a Guido Reni's painting, made by him durin...