Paintings — Old Masters Evening Sale
Jacob Isaacszoon van Swanenburg was a Dutch painter, draftsman and art dealer. He was known for his city views, history paintings, Christian religious scenes and portraits. He spent a substantial part of his early career in Italy before returning to his native Leiden. He was the teacher of the young Rembrandt.
Ambrosius Benson was an Italian painter who became a part of the Northern Renaissance.
While many surviving paintings have been attributed, there is very little known of him from records, and he tended not to sign his work. He is believed to be responsible for mainly religious art, but also painted portraits on commission. He sometime painted from classical sources, often setting the figures in modern-dress, or a contemporary domestic setting. In his lifetime he was successful; he had a large workshop, his work was sold internationally and he was especially popular in Spain.
Hans Holbein the Younger was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder, an accomplished painter of the Late Gothic school.
Jacob Savery the Elder was a Flemish painter, etcher and draughtsman. He was trained in Antwerp and later moved to the Dutch Republic after 1584. He specialised in still lifes, animals, landscapes en genre paintings.
Jacob’s earliest known works of 1584-86 are mostly cabinet-size landscapes that clearly show the influence of his master Hans Bol.
In Amsterdam Jacob was active as painter, etcher and draftsman. He produced a series of etchings in Pieter Bruegel the Elder's stipple technique depicting idealized rural scenes full of picturesque details, such as castle ruins and rabbit hunts.
Francesco Lazzaro Guardi was an Italian painter, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners, along with his brothers, of the classic Venetian school of painting.
In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on vedute. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture.
Michele Marieschi was an Italian painter, known for his landscape and cityscape paintings, primarily of Venice. Born in 1696, Marieschi was a pivotal figure in the veduta genre, a style focusing on detailed and often idealized representations of cityscapes. His works are celebrated for their architectural detail and the lively, fresh use of paint, distinguishing him from his contemporaries like Canaletto. Michele Marieschi's paintings often featured exaggerated perspectives, infusing scenes from life with the novelty of capricious invention.
His career included a significant period from 1735 to 1741 when he was registered with the Venetian painters' guild, indicating his recognition and establishment within the Venetian art community. In 1741, Marieschi published a set of 21 prints of Venice, providing a lasting legacy of his perspective on the city's unique landscape. This collection, titled "Magnificentiores Selectioresque Urbis Venetiarum Prospectus," included a self-portrait, underscoring his role in documenting Venice's architectural splendor.
Michele Marieschi's approach to vedute was influenced by his early work in scenery painting, allowing him to create urban views marked by an inventive use of perspective. This stylistic choice offered a new dimension to scenes taken from life, setting Marieschi apart from his peers.
For collectors and experts in art and antiques, Michele Marieschi's works represent a unique blend of architectural precision and imaginative composition. His influence on later painters, including Francesco Guardi, underscores his importance in the development of the veduta genre.
To stay informed about new discoveries, sales, and auction events related to Michele Marieschi's work, signing up for updates from relevant art institutions and auction houses is recommended. This subscription ensures that enthusiasts and collectors remain abreast of the latest developments related to this master of the Italian cityscape.
Peter Paul Rubens was a distinguished Flemish Baroque painter, renowned for his dynamic, vibrant, and sensuous paintings. Born on June 28, 1577, in Siegen, Westphalia, Germany, Rubens' family moved back to Antwerp in the Spanish Netherlands (now Belgium) after his father's death. He was raised in his mother’s Roman Catholic faith and received a classical education. He began his artistic training in 1591 and later traveled to Italy, where he was profoundly influenced by Renaissance masters like Titian, Tintoretto, and Veronese. This experience significantly shaped his artistic style.
Rubens' art is celebrated for its emphasis on movement, color, and sensuality. He was particularly skilled in depicting religious and mythological scenes, portraits, and landscapes. Some of his notable works include "The Descent from the Cross" and "The Raising of the Cross," which are prime examples of Baroque religious art, showcasing his unique style that blended influences from Italian Renaissance and his own innovations.
Rubens was not just a painter but also a diplomat, serving at various European courts. He was knighted by both Philip IV of Spain and Charles I of England. His diplomatic missions often intertwined with his artistic endeavors, as seen during his travels to Spain and Italy. In addition to painting, he was involved in designing tapestries, prints, and book title-pages. He ran a large workshop in Antwerp, producing works that were popular with nobility and art collectors across Europe. His studio was in his home, the Rubenshuis, now a museum.
His influence extended to his students, notably Anthony van Dyck, and his collaborative works with other artists like Jan Brueghel the Elder. Rubens' work continued to be celebrated for its vitality and influence on the Baroque style, making him one of the most influential artists of his time.
For those interested in the work and life of Peter Paul Rubens, many of his works can be found in museums and galleries worldwide, including the National Gallery in London, which houses several of his paintings like "A View of Het Steen in the Early Morning" and "Minerva protects Pax from Mars ('Peace and War')".
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Anthony van Dyck, a Flemish painter born in 1599 in Antwerp and passed away in 1641 in London, is celebrated as one of the foremost Baroque painters of the 17th century. His notable contributions to the art world include his exceptional portraits of European aristocracy, as well as his religious and mythological paintings. Van Dyck's early exposure to art was influenced significantly by his apprenticeship with Hendrik van Balen and later, by the profound impact of working alongside Peter Paul Rubens. His mastery was recognized early on, leading him to set up his own workshop by the age of 15.
Van Dyck's journey to Italy in 1621 marked a pivotal phase in his career, allowing him to immerse himself in studying the Italian masters and commencing his successful stint as a portraitist. His style evolved under the influence of Titian, evident from his vibrant use of color and refined modeling of form. Van Dyck's Italian period not only honed his artistic skills but also established his reputation as a painter of consequence.
Upon returning to Antwerp, van Dyck's portraits became highly sought after, leading to commissions from notable figures such as Archduchess Isabella and Queen Mother Maria de' Medici. His role as a court painter further solidified in England under the patronage of King Charles I, where he was knighted and appointed as the principal painter, profoundly shaping the aristocratic character of Charles I's reign through his portraits.
Van Dyck's legacy extends beyond his death, having influenced English portrait painting for over a century. His innovative techniques in watercolour and etching, along with his sophisticated portrayal of subjects, continue to be admired. His art not only showcases his technical prowess but also reflects the cultural and social nuances of his era, making his work a significant study for collectors and art historians alike.
For enthusiasts eager to explore the intersections of art, history, and culture through the lens of Anthony van Dyck's work, staying informed about new discoveries and auction events is essential. Signing up for updates can provide exclusive insights into the world of one of the most influential figures in Flemish art. This subscription ensures that collectors and experts are well-informed of any developments related to van Dyck's oeuvre, enhancing their understanding and appreciation of his contributions to the art world.
Anthony van Dyck, a Flemish painter born in 1599 in Antwerp and passed away in 1641 in London, is celebrated as one of the foremost Baroque painters of the 17th century. His notable contributions to the art world include his exceptional portraits of European aristocracy, as well as his religious and mythological paintings. Van Dyck's early exposure to art was influenced significantly by his apprenticeship with Hendrik van Balen and later, by the profound impact of working alongside Peter Paul Rubens. His mastery was recognized early on, leading him to set up his own workshop by the age of 15.
Van Dyck's journey to Italy in 1621 marked a pivotal phase in his career, allowing him to immerse himself in studying the Italian masters and commencing his successful stint as a portraitist. His style evolved under the influence of Titian, evident from his vibrant use of color and refined modeling of form. Van Dyck's Italian period not only honed his artistic skills but also established his reputation as a painter of consequence.
Upon returning to Antwerp, van Dyck's portraits became highly sought after, leading to commissions from notable figures such as Archduchess Isabella and Queen Mother Maria de' Medici. His role as a court painter further solidified in England under the patronage of King Charles I, where he was knighted and appointed as the principal painter, profoundly shaping the aristocratic character of Charles I's reign through his portraits.
Van Dyck's legacy extends beyond his death, having influenced English portrait painting for over a century. His innovative techniques in watercolour and etching, along with his sophisticated portrayal of subjects, continue to be admired. His art not only showcases his technical prowess but also reflects the cultural and social nuances of his era, making his work a significant study for collectors and art historians alike.
For enthusiasts eager to explore the intersections of art, history, and culture through the lens of Anthony van Dyck's work, staying informed about new discoveries and auction events is essential. Signing up for updates can provide exclusive insights into the world of one of the most influential figures in Flemish art. This subscription ensures that collectors and experts are well-informed of any developments related to van Dyck's oeuvre, enhancing their understanding and appreciation of his contributions to the art world.
Jan Brueghel the Elder, a Flemish painter born in 1568 in Brussels, was a pivotal figure in the Baroque period known for his intricate landscapes, detailed still lifes, and genre scenes. The son of Pieter Bruegel the Elder, Jan was distinguished by his delicate brushwork, earning him the nicknames "Velvet" Brueghel, "Flower" Brueghel, and "Paradise" Brueghel, each reflecting a different aspect of his versatile artistic output. His monikers refer to his skill in rendering fabrics, his specialization in flower still lifes, and his creation of the paradise landscape genre, respectively.
After early training in Brussels, possibly under the guidance of his grandmother Mayken Verhulst, and further studies in Antwerp, Brueghel ventured to Italy, where he worked in Rome under the patronage of Cardinal Ascanio Colonna and met influential artists like Paul Bril. His Italian sojourn greatly influenced his style, especially in landscape painting. Upon returning to Antwerp, he established a flourishing workshop and became a master in the Guild of St. Luke. Brueghel's collaborations with Peter Paul Rubens are among the most celebrated in art history, showcasing a harmonious blend of landscape and figure painting.
Jan Brueghel the Elder's works are prized for their vibrant depiction of nature and meticulous attention to detail. His landscapes are not just backdrops but are lively settings filled with rich narratives and a variety of creatures, reflecting his deep appreciation for the natural world. His flower pieces are equally renowned for their variety and realism, often serving as allegorical or symbolic representations.
Brueghel's legacy extends beyond his paintings; he was a pivotal figure in the Antwerp artistic community, serving as dean of the Guild of St. Luke and court painter to the Archduke Albert of Austria and the Infanta Isabella Clara Eugenia of Spain. His influence continued through his children, with his son Jan Brueghel the Younger continuing his workshop and maintaining the family's artistic traditions.
For collectors and experts in art and antiques, Jan Brueghel the Elder's works represent a high point in Flemish Baroque art, offering a glimpse into the era's aesthetic values and the artist's profound observation of the world around him. His paintings, found in museums and galleries worldwide, continue to captivate audiences with their beauty and depth.
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Jan Bruegel the Younger was a Flemish Baroque painter. He was the son of Jan Brueghel the Elder, and grandson of Pieter Bruegel the Elder, both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the Habsburg Netherlands. Taking over his father's workshop at an early age, he painted the same subjects as his father in a style which was similar to that of his father. He regularly collaborated with leading Flemish painters of his time.
Hendrik van Balen the Elder was a Flemish Baroque painter and stained glass artist, member of the Guild of Saint Luke in Antwerp.
Hendrik van Balen specialized in small cabinet paintings, often painted on copperplate. The artist's work was inspired by mythological and allegorical as well as religious subjects. The artist played an important role in the renewal of Flemish painting at the beginning of the 17th century and was one of Antoni van Dyck's teachers.
Barnaba da Modena, born Barnaba Agocchiari, was an influential Italian painter from Modena who played a pivotal role in the art scene of mid-14th-century Italy. His work is renowned for embodying the Byzantine art style, making him the first notable Lombard painter. Throughout his career, Barnaba was predominantly active in Lombardy, Piedmont, and even ventured into Pisa in Tuscany, showcasing his diverse geographical influence.
Barnaba's painting style was deeply rooted in Byzantine traditions, characterized by the use of gold highlights and golden backgrounds. He was adept at creating compositions that adhered to the older, more traditional styles of painting, which remained exceedingly popular in Genoa. This adherence to Byzantine painting techniques contributed significantly to his success in Genoa, as it resonated with the stylistic preferences of the time. His work often featured religious themes, executed with a depth of feeling and a refined technique that distinguished him from his contemporaries.
His extensive body of work includes about 50 known pieces, many of which are held in high regard for their technical and artistic quality. Notable works by Barnaba da Modena are preserved in prestigious institutions, including the National Gallery in London and The Courtauld, London. These works, such as "Virgin and Child" and "Pentecost," reflect his profound influence on the Genoese and possibly Pisan art scenes of the late 14th century. His follower, Nicolò da Voltri, continued Barnaba's stylistic legacy well into the 15th century, particularly in Liguria.
For collectors and experts in art and antiques, Barnaba da Modena's paintings offer a unique window into the transition between Medieval and Renaissance art, marked by his exceptional blending of Byzantine and Italian Gothic elements. His ability to convey religious narratives through meticulous detail and vibrant gold accents make his works a valuable addition to any collection.
To stay informed about new discoveries, sales, and auction events related to Barnaba da Modena's works, signing up for updates is advisable. This subscription will provide exclusive access to the latest information on this masterful painter, enriching your collection with significant pieces from the mid-14th century Italian art scene.
Melchior d'Hondecoeter was Dutch animalier painter, was born in Utrecht and died in Amsterdam. After the start of his career, he painted virtually exclusively bird subjects, usually exotic or game, in park-like landscapes. Hondecoeter's paintings featured geese (brent goose, Egyptian goose and red-breasted goose), fieldfares, partridges, pigeons, ducks, northern cardinal, magpies and peacocks, but also African grey crowned cranes, Asian sarus cranes, Indonesian yellow-crested cockatoos, an Indonesian purple-naped lory and grey-headed lovebirds from Madagascar.
Willem Claeszoon Heda was a Dutch Golden Age artist from the city of Haarlem devoted exclusively to the painting of still life. He is known for his innovation of the late breakfast genre of still life painting.
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Willem van de Velde the Younger was a Dutch marine painter from the van de Velde dynasty of artists.
Willem van de Velde the Younger is famous for his paintings depicting the calm sea with a magical reflection of the water surface and sea battles. His works are held in London's National Gallery and private English collections, Amsterdam's Rijksmuseum, The Hague, Berlin, Munich, Vienna and Paris. There are three paintings by Willem van de Velde the Younger in the Hermitage. In addition to paintings, he left many drawings, the number of which exceeds 8,000.
Sebastiano Conca was an Italian painter.
He was patronized by the Cardinal Ottoboni, who introduced him to Clement XI, who commissioned him a well-received Jeremiah painted for the church of St. John Lateran. He also painted an Assunta for the church of Santi Luca e Martina in Rome.
Conca was knighted by the pope. He collaborated with Carlo Maratta in the Coronation of Santa Cecilia (1721-24) in the namesake church of Santa Cecilia in Trastevere. In 1718 he was elected to the Accademia di San Luca, and was its director in 1729-1731, replacing Camillo Rusconi as Principe in 1732. He was also elected Principe in 1739-1741.
Hendrik Frans van Lint was a Flemish landscape and vedute painter who was part of the group of Flemish and Dutch painters active in Rome. He was one of the leading landscape painters in Rome in the first half of the 18th century and his patrons included Rome's old aristocratic families as well as European travellers on their Grand Tour.
Jean-François de Troy was a French Rococo easel and fresco painter, draughtsman and tapestry designer. One of France's leading history painters in his time, he was equally successful with his decorative paintings, genre scenes and portraits. He was the inventor of the tableaux de modes ('paintings of fashions'), which attempted to provide a spirited portrayal of contemporary fashions, pastimes and manners.
He was the Director of the French Academy in Rome from 1738.
Claude Joseph Vernet was a French painter.
Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative.
Thomas Gainsborough was an English painter, renowned for his mastery in both portraiture and landscape art, active during the 18th century. Born in Sudbury, Suffolk, Gainsborough displayed early artistic talent, which led him to London to study art seriously. He is often celebrated for his fluid and expressive brushwork and his innovative approach to portrait and landscape painting. Gainsborough was notably influenced by Dutch landscape paintings and the Rococo style, which is evident in his delicate and evocative use of color and light.
Thomas Gainsborough's career gained significant momentum when he moved to Bath, where he attracted a fashionable clientele. This period was marked by his creation of portraits that seamlessly integrated the sitters into lush, idyllic landscapes. Despite his success with portraits, Gainsborough preferred painting landscapes, often expressing a desire to escape the demands of portrait commissions to focus on these scenic representations.
Some of his most famous works include "The Blue Boy" and "Mr. and Mrs. Andrews." "The Blue Boy" is particularly noted for its vibrant blue costume and has been a hallmark of Gainsborough's style in capturing the personality and elegance of the youth. His works are held in high esteem and are part of collections across major museums globally, such as the National Gallery, Tate Britain, and the Huntington Library, to name a few.
For those interested in exploring Thomas Gainsborough's contributions to art, his paintings offer a glimpse into the social fabric and the natural beauty of 18th-century England, making him a pivotal figure in the English school of painting. His ability to convey character and atmosphere in his portraits and landscapes alike ensures his continued relevance and admiration in the art world today.
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