Saturday, October 24, 2015

66 Works - RELIGIOUS ART BY THE OLD MASTER PAINTERS - Paintings from the Bible Explained!

File:Ángel Zárraga - The Gift - Google Art Project.jpg
Ángel Zárraga (1886 - 1946)
The Gift, c. 1910
Oil on canvas
English: Oil on canvas
Height: 1,800 mm (70.87 in). Width: 2,200 mm (86.61 in).
Current location
National Art Museum, Mexico City

Ángel Zárraga (y) Argüelles (b. Victoria de Durango, August 16, 1886 – d. September 22, 1946) was a Mexican painter, born as son of the physician Dr. Fernando Zárraga and his wife Guadalupe Argüelles in the Barrio de Analco of Durango. While he visited the Escuela Nacional Preparatoria in Mexico City, he made first contacts with the artistic and intellectual scene, and studied at the Escuela Nacional de Bellas Artes (ENBA). His family enabled him a study trip to Europe in 1904, where he visited and exhibited in Spain, France and Italy. He also visited courses at the Royal Academies for Science and the Arts of Belgium.

In 1906 he exhibited some of his pictures in the Museo del Prado, and in 1907 in an exhibition of the ENBA. He participated in the 1909 Biennale di Venezia and exhibited in the Salon at the Piazzale Donatello, Florence. In 1911 he moved to France for good, and he only returned once at the outbreak of World War I for a short time.

After 1921 his work was influenced by Cézanne and Giotto. He also painted murals at the Château de Vert-Cœur and in the Cité Internationale Universitaire de Paris, and decorated the Mexican embassy in Paris, where he also exhibited at the Salon d'Automne, as well as in New York. Concerned over the collapse of the international art market he lost his sponsors and became depressive. During World War II he returned to his home country in 1941, where he painted murals at the Club de Banqueros and at the of the Catedral de Monterrey. He died after suffering from a pneumonia.  A museum of contemporary art was named after him. More

Ángel Zárraga      (Mexican Painter 1886 - 1946)      Votive Offering [Saint Sebastian], 1912      oil on canvas, Height: 1,850 mm (72.83 in). Width: 1,345 mm (52.95 in).      Museo Nacional de Arte, Mexico City, Mexixo:
Ángel Zárraga (Mexican Painter 1886 - 1946) 
Votive Offering [Saint Sebastian], c. 1912 
Oil on canvas, 
Height: 1,850 mm (72.83 in). Width: 1,345 mm (52.95 in). 
Museo Nacional de Arte, Mexico City, Mexico

A votive offering is one or more objects displayed or deposited, without the intention of recovery or use, in a sacred place for broadly religious purposes. Such items are a feature of modern and ancient societies and are generally made in order to gain favor with supernatural forces. Some offerings have apparently been made in anticipation of the achievement of a particular wish, but in Western cultures from which documentary evidence survives it has been more typical to wait until the wish has been fulfilled before making the offering,] for which the more specific term ex-voto may be used. Votive offerings have been described in historical Roman era and Greek sources, although similar acts continue into the present day, for example in traditional Catholic culture and, arguably, in the modern-day practice of tossing coins into a wishing well or fountain. The modern construction practice called topping out can be considered as an example of a votive practice that has very ancient roots. More

Saint Sebastian (died c. 288) was an early Christian saint and martyr. According to Christian belief, he was killed during the Roman emperor Diocletian's persecution of Christians. He is commonly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most common artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly afterwards he criticized Diocletian in person and as a result was clubbed to death.[1][2] He is venerated in the Catholic and Orthodox Churches. More

Circle of Marten de Vos (Antwerp 1532-1603)
The Annunciation 
oil on panel
77.5 x 102.2cm (30 1/2 x 40 1/4in)

The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation". Many Christians observe this event with the Feast of the Annunciation on 25 March, nine full months before Christmas, the ceremonial birthday of Jesus. According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy with John the Baptist. Irenaeus (c. 130–202) of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion.

Marten de Vos (1532 – 4 December 1603), also Maarten, was a leading Antwerp painter and draughtsman in the late sixteenth century. He travelled to Italy and adopted the mannerist style popular at the time. De Vos was also highly influenced by the colors of Venetian painting, and might have worked in the studio of Tintoretto. Following the iconoclastic destruction in 1566, he was one of the artists largely responsible for redecorating churches with new altarpieces in Antwerp. 


He was also the founder of the society of the Romanists, which brought together artists, connoisseurs and humanists who had travelled to Rome and appreciated its humanist culture.


Workshop of Artus Wolfaerts (Antwerp 1581-1641)
The Four Evangelists 
oil on canvas
84.3 x 114.8cm (33 3/16 x 45 3/16in).

The Four Evangelists are Matthew, Mark, Luke, and John, the authors attributed with the creation of the four Gospel accounts in the New Testament that bear the following titles: Gospel according to Matthew; Gospel according to Mark; Gospel according to Luke and Gospel according to John.

Artus Wolffort (also Wolffordt and Wolffaert) (1581–1641) was a Flemish painter of history paintings, landscapes and portraits. He trained as a painter in Dordrecht where he joined the local Guild of Saint Luke in 1603. He returned to Antwerp around 1615 where he worked as an assistant in the studio of Otto van Veen, one of the teachers of Peter Paul Rubens.


Wolffort and his work were not well known until the late 1970s and some of his paintings were even classified as early works by Rubens. His pupils included his son Jan Baptist Wolfaerts, Pieter van Lint, Pieter van Mol and Lucas Smout the Elder. He died in Antwerp.


Follower of Jacopo Zanguidi, called Il Bertoia (Parma 1544-circa 1573)
The Adoration of the Magi 
oil on canvas
48.1 x 35.9cm (18 15/16 x 14 1/8in)

The Adoration of the Magi is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him

Jacopo Bertoia, also known as Giacomo Zanguidi or Jacopo Zanguidi or Bertoja, (1544 - ca. 1574), was an Italian painter of a late-Renaissance or Mannerist style that emerged in Parma towards the end of the 16th century. 


In Rome, he was part of the team that frescoed the walls of the Oratorio del Gonfalone, painting the panel depicting the Entry of Christ into Jerusalem. He was commissioned by Cardinal Alessandro Farnese in 1572-1573 to paint galleries (Sale del Giudizio, della Penitenza, dei Sogni, as well as the Anticamera degli Angeli) of the Villa Farnese in Caprarola, where he replaced the role of Taddeo Zuccari. He had earlier worked in Caprarola with Federico Zuccari in 1574, painting in the Sala di Ercole.


Circle of Jacob de Backer (Antwerp circa 1555-1585)
The Crucifixion 
oil on panel
103.2 x 72.3cm (40 5/8 x 28 7/16in).

Jacob de Backer, also Jacques (c. 1555 – c. 1585), was a Flemish Mannerist painter and draughtsman active in Antwerp between about 1571 and 1585. Although he painted in the high mannerist style of Giorgio Vasari, he never appeared to have traveled to Italy. His series of the "Seven Deadly Sins", however, was bought in Antwerp by Alessandro Farnese's secretary Cosimo Masi in 1594 and taken to Italy. These paintings are now in the Museo di Capodimonte in Naples. Other attributable works include a Last Judgment triptych by him or his studio for Christophe Plantin's tomb in the Antwerp Cathedral and an Allegory of the Three Ages of Man in the Hermitage Museum, St. Petersburg.

The Lamentation
oil on canvas 
66.3 x 44.2cm (26 1/8 x 17 3/8in).

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.


Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà (Italian for "pity").

Gerard van Honthorst (Gerrit van Honthorst) (4 November 1592 – 27 April 1656) was a Dutch Golden Age painter. He was born in Utrecht, the son of a decorative painter, and trained under his father, and then under Abraham Bloemaert. Early in his career he visited Rome, where he had great success painting in a style influenced by Caravaggio. Following his return to the Netherlands he became a leading portrait painter.

Francesco Guarino da Solofra (Sant' Agata Irpina, near Solofra 1611-1654 Gravina di Pulia)
Judith with the Head of Holofernes 
oil on canvas
76.7 x 96.7cm (30 3/16 x 38 1/16in).

The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. Overcome with drink, he passes out and is decapitated by Judith; his head is taken away in a basket.


Francesco Guarino (1611–1654) 
Saint Agnes, 1650
oil on canvas

Francesco Guarino or Guarini (1611-1651 or 1654) was an Italian painter of the Baroque period, active mainly in Irpinia, and in other areas of the Kingdom of Naples.


He was a pupil first locally of his father, Giovanni Tommaso Guarino, before moving to Naples to work in the studio of Massimo Stanzione. In Naples, like many of his contemporaries there, he was influenced by the style of Caravaggio. In his selection of models who appear to have been plucked from the streets of Naples, he recalls the style of Bernardo Cavallino, the fellow-pupil of Stanzioni. 

Saint Agnes was a member of the Roman nobility and raised in a Christian family. She suffered martyrdom at the age of twelve or thirteen during the reign of the Roman Emperor Diocletian, on 21 January 304.

Agnes was a beautiful young girl of wealthy family and therefore had many suitors of high rank. Legend holds that the young men, slighted by Agnes's resolute devotion to religious purity, submitted her name to the authorities as a follower of Christianity.


The Prefect condemned her to be dragged naked through the streets to a brothel. Various versions of the legend give different methods of escape from this predicament. In one, as she prayed, her hair grew and covered her body. It was also said that all of the men who attempted to rape her were immediately struck blind. In another the son of the prefect is struck dead, but revived after Agnes prayed for him, causing her release. There is then a trial from which Sempronius excuses himself, and another figure presides, sentencing her to death. When led out to die she was tied to a stake, but the bundle of wood would not burn, or the flames parted away from her, whereupon the officer in charge of the troops drew his sword and beheaded her. 

The Master of the Parrot ACTIVE IN ANTWERP IN THE SECOND QUARTER OF THE 16TH CENTURY THE VIRGIN AND CHILD oil on panel 24.9 by 20 cm.; 9 1/2  by 7 7/8  in:
The Master of the Parrot
ACTIVE IN ANTWERP IN THE SECOND QUARTER OF THE 16TH CENTURY
THE VIRGIN AND CHILD
oil on panel
24.9 by 20 cm.; 9 1/2  by 7 7/8  in.

Antwerp School, early 16th century THE CRUCIFIXION WITH SAINTS MARY, MARY MAGDALENE AND JOHN THE EVANGELIST oil on panel 71.8 by 54.6 cm.; 28 1/4  by 21 1/2  in.:
Antwerp School, early 16th century
THE CRUCIFIXION WITH SAINTS MARY, MARY MAGDALENE AND JOHN THE EVANGELIST
oil on panel
71.8 by 54.6 cm.; 28 1/4  by 21 1/2  in.

The Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens. More

Manuel Lopez Vazquez (Granada 1920 – 2004), after Rogier van der Weyden THE ADORATION OF THE MAGI signed in the centre on the column: M.Lopez Vazquez oil on panel 89.9 by 105.4 cm.; 35 3/8  by 41 1/2  in.:
Manuel Lopez Vazquez (Granada 1920 – 2004), after Rogier van der Weyden
THE ADORATION OF THE MAGI
oil on panel
89.9 by 105.4 cm.; 35 3/8  by 41 1/2  in.

Manuel Lopez Vazquez ( Granada , April 7, 1920 - October 3, 2004), painter and restorer Granada School Rafael Latorre.  The multiple and varied workshop of the painter and restorer, Rafael Latorre, Race Darro, learned the techniques and crafts painter and restorer. The study of the master was forged not only his artistic vocation, but his care for the city and its heritage. He had the opportunity to listen and admire great figures of the time related to the art world, such as Fernando de los Rios , Manuel Gomez Moreno , Emilio Orozco Diaz , Natalio Rivas and José María López Mezquita .More

Anton Kern TETSCHEN, BOHEMIA 1709 - 1747 DRESDEN ADORATION OF THE SHEPHERDS oil on canvas 45.2 by 72.9 cm.; 17 7/8  by 28 3/4  in.:
Anton Kern
TETSCHEN, BOHEMIA 1709 - 1747 DRESDEN
ADORATION OF THE SHEPHERDS
oil on canvas
45.2 by 72.9 cm.; 17 7/8  by 28 3/4  in.

Anton Kern was a Bohemian painter who spent seven years in the studio of Giambattista Pittoni. A second version of this work, signed and dated 1730, once formed part of the Czernin collection in Vienna and is considered an early work, perhaps even Kern's very first painting.1 We are grateful to Lino Moretti for endorsing the attribution to Kern, on the basis of a photograph. More

Antwerp School, first half of the 16th century MARY MAGDALENE oil on panel 47 by 38.2 cm.; 19 by 15 7/8 in.:
Antwerp School, first half of the 16th century
MARY MAGDALENE
oil on panel
47 by 38.2 cm.; 19 by 15 7/8 in.

The Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens. More

Antwerp School, first half of the 16th century
MARY MAGDALENE
Quantity: 2
a pair, both tempera on panel, gold ground, arched tops
each: 66.1 by 10 cm.; 26 by 4 in.

Pere Lembrí worked in the hilltop towns of Morella and Tortosa. A painter of altarpieces, his style clearly references the beginnings of the International Gothic movement in Valencia. These upright panels decorated the pilasters of a large altarpiece and may be compared with those of the artist's Retablo de los Santos Juanes in Albocásser, church of Sant Joan, which are dated by Pitarch to 1400-10. More

Valencian School, early 16th century PENTECOST oil on panel 89.5 by 52.7 cm.; 35 1/4  by 20 3/4  in.:
Valencian School, early 16th century
PENTECOST
oil on panel
89.5 by 52.7 cm.; 35 1/4  by 20 3/4  in

Valencian School, first half of the 16th century CALVARY, WITH MARY MAGDALENE AT THE FOOT OF THE CROSS oil on panel 187.8 by 111.2 cm.; 73 7/8  by 43 3/4  in.:
Valencian School, first half of the 16th century
CALVARY, WITH MARY MAGDALENE AT THE FOOT OF THE CROSS
oil on panel
187.8 by 111.2 cm.; 73 7/8  by 43 3/4  in.

The Entombment of Christ
Caravaggio
'The Entombment of Christ 1603–1604
Oil on canvas
300 cm × 203 cm (120 in × 80 in)
Pinacoteca Vaticana, Vatican City

Michelangelo Merisi da Caravaggio (1571 – 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting. More

After Anton Raphael Mengs THE DEPOSITION OF CHRIST oil on canvas 116.6 by 81.9 cm.; 45 7/8  by 32 1/8  in.:
After Anton Raphael Mengs
THE DEPOSITION OF CHRIST
oil on canvas
116.6 by 81.9 cm.; 45 7/8  by 32 1/8  in.

Anton Raphael Mengs (March 22, 1728 – June 29, 1779) was a German Bohemian painter, active in Rome, Madrid and Saxony, who became one of the precursors to Neoclassical painting.

School of Toledo, early 17th Century SAINT LOUIS IX OF FRANCE WITH THE ARCHANGEL MICHAEL, IN A LANDSCAPE oil on panel 117.8 by 66.1 cm.; 46 3/8  by 26 in.:
School of Toledo, early 17th Century
SAINT LOUIS IX OF FRANCE WITH THE ARCHANGEL MICHAEL, IN A LANDSCAPE
oil on panel
117.8 by 66.1 cm.; 46 3/8  by 26 in.

Louis IX (25 April 1214 – 25 August 1270), commonly known as Saint Louis, was a Capetian King of France who reigned from 1226 until his death. Louis was crowned in Reims at the age of 12, following the death of his father Louis VIII the Lion. As an adult, Louis IX faced recurring conflicts with some of the most powerful nobles, such as Hugh X of Lusignan and Peter of Dreux. Simultaneously, Henry III of England tried to restore his continental possessions, but was defeated at the battle of Taillebourg. His reign saw the annexation of several provinces, notably Normandy, Maine and Provence.


Louis's actions were inspired by Christian values. He decided to punish blasphemy, gambling, interest-bearing loans and prostitution, and bought the relics of Christ for which he built the Sainte-Chapelle. More

Spanish School, 17th century RAPHAEL AND TOBIAS oil on canvas, unlined 160 by 116.2 cm.; 63 by 45 3/4  in.:
Spanish School, 17th century
RAPHAEL AND TOBIAS
oil on canvas, unlined
160 by 116.2 cm.; 63 by 45 3/4  in.

The story of how the Archangel Raphael helped a young man named Tobias is found in the Old Testament Book of Tobit. When Tobias is sent by his blind father to a distant land to collect a debt, the archangel appears in the guise of an older companion and guide. At one point he helps Tobias catch a large fish with curative properties. When they reach their destination and Tobias falls in love with a young woman troubled by an evil spirit, Raphael teaches him how to drive the spirit away so that the two can marry. When they return home, the archangel prepares a salve from parts of the fish and heals Tobias’ blind father. Tobias’ dog follows the two travelers throughout their journey. 


Based on this story, St. Raphael has long been considered the patron saint of healers, travelers, and fishermen.  More

Pedro Orrente
MURCIA 1580 - 1645 VALENCIA
DEPARTURE OF THE PRODIGAL SON
oil on canvas
the former: 82.3 by 107.4 cm.; 32 3/8  by 42 1/4  in.

The Parable of the Prodigal Son (also known as the Parable of the Two Sons, Lost Son, Running Father, Loving Father, or Lovesick Father) is one of the parables of Jesus. It appears in only one of the Canonical gospels of the New Testament. More

Pedro Orrente (1580–1645) was a Spanish painter of the Baroque period. Born in the village of Murcia. Orrente appears to have studied with el Greco in Toledo, where he painted a San Ildefonso before the apparition of St Leocadia and the Birth of Christ for the cathedral. He often moved, painting in Murcia and Cuenca. In Valencia, he painted for the Cathedral. He set up a school, and among his pupils were Esteban March and García Salmerón. In Madrid, he painted works transferred to the Palacio del Buen Retiro. He traveled to Seville, where he met Francisco Pacheco. Returning to Castille, died in Valencia and buried in the parish de San Martín. Known for paintings of animals and landscapes, as well a history paintings. More

Pedro Orrente
MURCIA 1580 - 1645 VALENCIA
RETURN OF THE PRODIGAL SON
oil on canvas
the latter: 82.8 by 106.8 cm.; 32 5/8  by 42 in.

Francisco Camilo MADRID 1615 - 1673 THE ANNUNCIATION oil on canvas 85.5 by 82.5 cm.; 33 3/4  by 32 1/2  in.:
Francisco Camilo
MADRID 1615 - 1673
THE ANNUNCIATION
oil on canvas
85.5 by 82.5 cm.; 33 3/4  by 32 1/2  in.

The Annunciation,  also referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation". More

Francisco Camilo (1610-1671) was a Spanish painter. Camilo was the son of an Italian who had settled at Madrid. When his father died, his mother remarried, and Camilo became the stepson of the painter Pedro de las Cuevas.

De las Cuevas brought Camilo up as his own son, teaching him painting. At the age of 18, Camilo was asked to paint, for the high altar of the Jesuits’ house at Madrid, a picture representing St. Francis Borgia. More

Bolognese School, 16th Century THE HOLY FAMILY oil on panel, unframed 88.2 by 76 cm.; 34 5/8  by 29 7/8  in.:
Bolognese School, 16th Century
THE HOLY FAMILY
oil on panel, unframed
88.2 by 76 cm.; 34 5/8  by 29 7/8  in.

Northern follower of Leonardo da Vinci
THE HOLY FAMILY WITH SAINT ANNE
oil on panel, in an elaborate wood tabernacle frame with figural carvings
97.5 by 71 cm.; 38 1/2  by 29 in.

Ferrarese School, 16th Century
THE HOLY FAMILY WITH SAINTS ELISABETH AND JOHN THE BAPTIST
oil on panel, in a tabernacle frame
53.7 by 42.5 cm.; 21 1/8  by 16 3/4  in.

Saint Elizabeth. According to the Gospel of Luke, Elizabeth was "of the daughters of Aaron". She and her husband Zacharias were "righteous before God, walking in all the commandments and ordinances of the Lord blameless" , but childless. While he was in the temple of the Lord, Zacharias was visited by the angel Gabriel who told him that his Elizabeth would bear him a son, John. He will be a joy and delight to you, and many will rejoice because of his birth, for he will be great in the sight of the Lord. He is never to take wine or other fermented drink, and he will be filled with the Holy Spirit even before he is born"."

According to the account, the angel Gabriel was then sent to Nazareth in Galilee to her relative Mary, then a virgin, espoused to a man called Joseph, and informed her that she would conceive by the Holy Ghost and bring forth a son to be called Jesus. After she was also informed that her "relative Elizabeth" had begun her sixth month of pregnancy, she travelled to "Hebron, in the hill country of Judah", to visit Elizabeth. More

Valencian School, 16th century THE HOLY FAMILY WITH THE INFANT SAINT JOHN THE BAPTIST AND SAINT JOHN THE EVANGELIST oil on oak panel, unframed 33.9 by 27.5 cm.; 13 3/8  by 10 7/8  in.:
Valencian School, 16th century
THE HOLY FAMILY WITH THE INFANT SAINT JOHN THE BAPTIST AND SAINT JOHN THE EVANGELIST
oil on oak panel, unframed
33.9 by 27.5 cm.; 13 3/8  by 10 7/8  in.

John the Evangelist  is traditionally regarded as the author of the Gospel of John, and other Johannine works in the New Testament — the three Epistles of John and the Book of Revelation. More

Workshop of the Bassano Family ACTIVE IN BASSANO DEL GRAPPA AND VENICE, CIRCA 1540-1622 THE MOCKING OF CHRIST oil on canvas, unlined 80 by 61.5 cm.; 31 1/2  by 24 1/4  in.:
Workshop of the Bassano Family
ACTIVE IN BASSANO DEL GRAPPA AND VENICE, CIRCA 1540-1622
THE MOCKING OF CHRIST
oil on canvas, unlined
80 by 61.5 cm.; 31 1/2  by 24 1/4  in.

Jacopo Bassano (1510– 14 February 1592), known also as Jacopo dal Ponte, was an Italian painter who was born and died in Bassano del Grappa near Venice, from which he adopted the name. A pupil of Bonifazio Veronese's, he painted mostly landscapes and genre scenes. Bassano's pictures, and those of his two sons, Leandro Bassano and Francesco Bassano the Younger, who followed him closely, were very popular in Venice because of their depiction of simple country life. Bassano is considered to be the first modern landscape painter. More

Manner of Marco Palmezzano CHRIST CARRYING THE CROSS Quantity: 2 oil on panel 32.3 by 24.4 cm.; 12 3/4  by 9 5/8  in.:
Manner of Marco Palmezzano
CHRIST CARRYING THE CROSS
oil on panel
32.3 by 24.4 cm.; 12 3/4  by 9 5/8  in.

Marco Palmezzano (1460–1539) was an Italian painter and architect, belonging to the Forlì painting school, who painted in a style recalling earlier Northern Renaissance models, and was mostly active near Forlì. More

Manner of Marco Palmezzano CHRIST CARRYING THE CROSS Quantity: 2 oil on panel 32.3 by 24.4 cm.; 12 3/4  by 9 5/8  in.:
Manner of Marco Palmezzano
The Holy Family 
oil on panel
32.3 by 24.4 cm.; 12 3/4  by 9 5/8  in.

After Orazio Gentileschi SAINT CECILIA WITH AN ANGEL oil on canvas, laid down on board 83.4 by 105.2 cm.; 32 7/8  by 41 3/8  in.:
After Orazio Gentileschi
SAINT CECILIA WITH AN ANGEL
oil on canvas, laid down on board
83.4 by 105.2 cm.; 32 7/8  by 41 3/8  in.

Cecilia is one of the most famous of the Roman martyrs. According to the story, despite her vow of virginity, she was forced by her parents to marry a nobleman named Valerian. During the wedding, Cecilia sat apart singing to God in her heart, and for that she was later declared the saint of musicians. When the time came for her marriage to be consummated, Cecilia told Valerian that she had an angel of the Lord watching over her who would punish him if he dared to violate her virginity but who would love him if he could respect her maidenhood. When Valerian asked to see the angel, Cecilia replied that he would see the angel if he would go to the third milestone on the Via Appia (the Appian Way) and be baptized by Pope Urbanus.[citation needed] After his baptism, he found an angel standing by the side of Cecilia, and crowning her with a chaplet of roses and lilies.

The martyrdom of Cecilia is said to have followed that of Valerian and his brother by the prefect Turcius Almachius. The legend about Cecilia’s death says that after being struck three times on the neck with a sword, she lived for three days, and asked the pope to convert her home into a church.


Cecilia was buried at the Catacombs of St. Callistus, and then transferred to the Church of Santa Cecilia in Trastevere. In 1599, her body was found still incorrupt, seeming to be asleep. More

Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. After 1600 he came under the influence of the more naturalistic style of Caravaggio. He received important commissions in Fabriano and Genoa before moving to Paris to the court of Marie de Medici. He spent the last part of his life at the court of Charles I of England. He was the father of the painter Artemisia Gentileschi. More

Matteo Rosselli FLORENCE 1578 - 1650 THE ARCHANGEL MICHAEL oil on canvas 64.5 by 51.5 cm.; 25 3/8  by 20 1/4  in.:
Matteo Rosselli
FLORENCE 1578 - 1650
THE ARCHANGEL MICHAEL
oil on canvas
64.5 by 51.5 cm.; 25 3/8  by 20 1/4  in.

Michael is an archangel in Judaism, Christianity, and Islam. Roman Catholics, the Eastern Orthodox, Anglicans, and Lutherans refer to him as "Saint Michael the Archangel" and also as "Saint Michael". Orthodox Christians refer to him as the "Taxiarch Archangel Michael" or simply "Archangel Michael".


In the New Testament Michael leads God's armies against Satan's forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as "the archangel Michael". Christian sanctuaries to Michael appeared in the 4th century, when he was first seen as a healing angel, and then over time as a protector and the leader of the army of God against the forces of evil. By the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations. More

Matteo Rosselli (10 August 1578 – 18 January 1650) was an Italian painter of the late Florentine Counter-Mannerism and early Baroque. He is best known for his highly populated grand-manner historical paintings. More

South German School, circa 1600 THE ARCHANGEL MICHAEL oil and gold ground on panel 134 by 110 cm.; 51 3/4  by 43 1/4  in:
South German School, circa 1600
THE ARCHANGEL MICHAEL
oil and gold ground on panel
134 by 110 cm.; 51 3/4  by 43 1/4  in

Pietro Sigismondi
BORN IN LUCCA - ROME BEFORE 1624
SAINT AGNES
signed, located and indistinctly dated lower right on the balustrade: SIGISMVNDVS:FECIT Rome·160...
oil on copper
36.9 by 28 cm.; 14 1/2  by 11 in.

Agnes of Rome (c. 291 – c. 304) is a virgin–martyr, venerated as a saint in the Roman Catholic Church, Eastern Orthodox Church, the Anglican Communion, and Lutheranism. She is one of seven women, who along with the Blessed Virgin, are commemorated by name in the Canon of the Mass. She is the patron saint of chastity, gardeners, girls, engaged couples, rape survivors, virgins, and the Children of Mary.

According to tradition, Agnes was a member of the Roman nobility born 291 AD and raised in a Christian family. She suffered martyrdom at the age of twelve or thirteen during the reign of the Roman Emperor Diocletian, on 21 January 304. Details of her story are unreliable, but legend holds that the young men, slighted by her resolute devotion to religious purity, submitted her name to the authorities as a follower of Christianity. More

Pietro Sigismondi. Born in Lucca, Sigismondi made his career in Rome, where he painted the present work. His style reflects that of both native Roman painters and the itinerant Flemish landscape painters working in the city, such as Paul Bril, whose influence is evident in the background of this work. Sigismondi painted frescoes in Villa Celimontana in Rome, and an altarpiece depicting the Madonna and child with saints Nicholas and Filippo Benizzi for the church of San. Niccolò in Arcione.

Circle of Adam Elsheimer THE MADONNA AND CHILD IN A LANDSCAPE WITH ANGELS oil on copper 19.5 cm by 24.8 cm.; 7 5/8  by 9 3/4  in.:
Circle of Adam Elsheimer
THE MADONNA AND CHILD IN A LANDSCAPE WITH ANGELS
oil on copper
19.5 cm by 24.8 cm.; 7 5/8  by 9 3/4  in.

Adam Elsheimer (18 March 1578 – 11 December 1610) was a German artist working in Rome who died at only thirty-two, but was very influential in the early 17th century. His relatively few paintings were small scale, nearly all painted on copper plates, of the type often known as cabinet paintings. They include a variety of light effects, and an innovative treatment of landscape. He was an influence on many other artists, including Rembrandt and Peter Paul Rubens. More

Francesco Trevisani CAPODISTRIA 1656-1746 ROMA THE MADONNA AND CHILD oil on copper 18.4 by 14 cm.; 7 1/4  by 5 1/2  in.:
Francesco Trevisani
CAPODISTRIA 1656-1746 ROMA
THE MADONNA AND CHILD
oil on copper
18.4 by 14 cm.; 7 1/4  by 5 1/2  in.

Francesco Trevisani (April 9, 1656 – July 30, 1746) was an Italian painter, active in the period called either early Rococo or late Baroque (barochetto). Born in Capodistria, Istria (modern Koper now in Slovenia, then part of the Republic of Venice), he was the son of Antonio Trevisani, an architect, by whom he was instructed in the first rudiments of design. He then studied in Venice under Antonio Zanchi. He moved to Rome, where he remained until his death, in 1746. His brother, Angelo Trevisani remained a prominent painter in Venice. More

Guy François LE PUY, HAUTE-LOIRE CIRCA 1578 - 1650 LE PUY THE VIRGIN AND CHILD oil on canvas 84.5 by 59 cm.; 33 1/4  by 24 1/4  in.:
Guy François
LE PUY, HAUTE-LOIRE CIRCA 1578 - 1650 LE PUY
THE VIRGIN AND CHILD
oil on canvas
84.5 by 59 cm.; 33 1/4  by 24 1/4  in.

Guy François (1578 – 1650), was a French painter born in Le Puy and travelled to Italy, where he worked in the workshop of Carlo Saraceni in Venice during the years 1615-1619. He signed his works "Guido Francesco". He is known for religious works in the style of Caravaggio. More

Follower of Antiveduto Gramatica HOLY FAMILY WITH THE INFANT SAINT JOHN oil on canvas 105.4 by 130.8 cm.; 41 1/4  by 51 1/2  in:
Follower of Antiveduto Gramatica
HOLY FAMILY WITH THE INFANT SAINT JOHN
oil on canvas
105.4 by 130.8 cm.; 41 1/4  by 51 1/2  in

Antiveduto Grammatica (1571 – April 1626) was a proto-Baroque Italian painter, active near Rome. It was in Rome that Antiveduto was baptised, raised and based his career. His apprenticeship with the Perugian artist Giovanni Domenico Angelini (Giandomenico Perugino) introduced him to small-scale work, mostly on copper. He gained the nickname "gran Capocciante" because he specialised in painting heads of famous men. A decade later, in 1591, Antiveduto set up as an independent artist. More

Roman School, 18th century
MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST 
oil on copper
21.6 by 16.8 cm.; 8 1/2  by 6 5/8  in.

Follower of Giambattista Piazzetta CHRIST ON THE CROSS WITH SAINT FRANCIS oil on canvas, with an unidentified collector's wax seal on the stretcher 74.5 by 53.8 cm.; 29 3/8  by 21 1/4  in.:
Follower of Giambattista Piazzetta
CHRIST ON THE CROSS WITH SAINT FRANCIS
oil on canvas, with an unidentified collector's wax seal on the stretcher
74.5 by 53.8 cm.; 29 3/8  by 21 1/4  in.

Giovanni Battista Piazzetta (February 13, 1682 or 1683 – April 28, 1754) was an Italian Rococo painter of religious subjects and genre scenes. Piazzetta, together with Giambattista Pittoni, Giovan Battista Tiepolo, Canaletto, Giuseppe Maria Crespi and Francesco Guardi form the traditional great Old Masters painters of the 18th-century. More

Circle of Jacques Stella JUDITH AND HOLOFERNES oil on slate, octagonal 37.5 by 38.6 cm.; 14 3/4  by 15 1/8  in.:
Circle of Jacques Stella
JUDITH AND HOLOFERNES
oil on slate, octagonal
37.5 by 38.6 cm.; 14 3/4  by 15 1/8  in.

The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. Overcome with drink, he passes out and is decapitated by Judith; his head is taken away in a basket (often depicted as carried by an elderly female servant). More

Jacques Stella (1596 - 29 April 1657) was a French painter. From about 1616 to 1622, Jacques was in Florence working for Cosimo II de' Medici, along with Jacques Callot, whose style influenced Stella's early engravings. Around 1623 Stella moved to Rome, where he stayed for ten years and gained fame for his small-scale paintings and engravings. In Rome he was influenced by the cool classicism and restraint of Nicolas Poussin's art and became one of Poussin's few intimates. 

In about 1634, he ventured towards Paris, traveling to Venice, Milan, and Lyon along the way. In Paris, Cardinal Richelieu presented him to Louis XIII, who appointed him Painter to the King. In later years, Stella worked in Paris, Rouen, and Versailles, but his life became overshadowed by illness. 

After his death, Stella's paintings and drawings were often sold as the works of Poussin. The chronology of Stella's works is far from settled, with numerous paintings still untraced or damaged. His nieces, whom Stella trained as painters, later engraved many of his drawings. More

File:Artemisia Gentileschi - Giuditta decapita Oloferne - Google Art Project-Adjust.jpg
Artemisia Gentileschi (1593–1653) 
Judith and Holofernes c. 1620 until 1621
Oil on canvas
Height: 199 cm (78.3 in). Width: 162.5 cm (64 in).
Uffizi Gallery

Artemisia Gentileschi (July 8, 1593 – c. 1656) was an Italian Baroque painter, today considered one of the most accomplished painters in the generation following that of Caravaggio. In an era when women painters were not easily accepted by the artistic community or patrons, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence. She painted many pictures of strong and suffering women from myth and the Bible – victims, suicides, warriors. More

Follower of Daniele Crespi SALOMÈ WITH THE HEAD OF SAINT JOHN THE BAPTIST oil on canvas, unframed 63.4 by 76 cm.; 25 by 29 7/8  in.:
Follower of Daniele Crespi
SALOMÈ WITH THE HEAD OF SAINT JOHN THE BAPTIST
oil on canvas, unframed
63.4 by 76 cm.; 25 by 29 7/8  in.

The Beheading of Saint John the Baptist commemorates the martyrdom by beheading of Saint John the Baptist on the orders of Herod Antipas through the vengeful request of his step-daughter Salome and her mother. More

Daniele Crespi (1598–July 19, 1630) was an Italian painter of the Baroque era. He was born in Busto Arsizio, and active mostly in the Milan of Federico Borromeo.


He was an excellent colorist, known for the simplistic beauty of his composition. His earliest works show him assisting Guglielmo Caccia in San Vittore. His best works include a series of pictures from the life of Saint Bruno (now in the Certosa di Garegnano in Milan) and a depiction of the Stoning of St. Stephen (in Brera). Another masterpiece is the dark 1628 San Carlo Borromeo at Supper in the church of Santa Maria della Passione in Milan. Other works by him can be found in Milan and Pavia. His Conversion of Saint Paul, when compared to Caravaggio's earlier work in the Cerasi Chapel, shows the persistence of Crespi's Mannerist traits. Crespi died in Milan during the plague epidemic in 1630. More

Onorio Marinari (1627–1715)
Salome with the head of John the Baptist, c. 1680
Oil on Canvas
Minneapolis Institute of Arts

Jacob Willemsz. de Wet the Elder HAARLEM 1610 - AFTER 1675 HAARLEM (?) CHRIST DISPUTING WITH THE DOCTORS IN THE TEMPLE signed lower right on the step: J.d.Wet oil on canvas 44 by 36.8 cm.; 17 1/4  by 14 1/2  in.:
Jacob Willemsz. de Wet the Elder
HAARLEM 1610 - AFTER 1675 HAARLEM (?)
CHRIST DISPUTING WITH THE DOCTORS IN THE TEMPLE
signed lower right on the step: J.d.Wet
oil on canvas
44 by 36.8 cm.; 17 1/4  by 14 1/2  in.

Christ disputing with the Doctors. At the age of twelve, Christ debated in the Temple of Jerusalem with senior scholars and priests and 'all that heard him were amazed at his understanding and his answers' (New Testament, Luke 2: 41-8). 

Jacob Willemsz. de Wet the Elder (c. 1610 – between 1675 and 1691) was a Dutch Golden Age painter. He was born and died in Haarlem. Little is known of his early life. Houbraken mentions him in passing as an art dealer of Haarlem in his biographical sketch of Philips Wouwerman, referring to him as Jan de Wet. De Wet left a notebook that mentions a total of 34 pupils, most famously Paulus Potter. Other notable pupils were Job Adriaensz Berckheyde, Adriaen Jansz Kraen, Johann Philip Lemke, Jan Vermeer van Haarlem I (not to be confused with Vermeer of Delft), Jacob de Wet II, and Kort Withold. He became a member of the Haarlem Guild of St. Luke in 1632. Judging from the number of pupils, and the difficulties his son Jacob II had with launching an independent career, it seems that De Wet had a large and successful practise in Haarlem. More

Christ disputing with the Doctors, probably about 1520-5
Lodovico Mazzolino
The National Gallery

Mazzolino signifies that the building represents the Temple by including the relief of Moses above Christ's head and the Hebrew inscription. Much shell-gold is used in the painting of Christ.

Ludovico Mazzolino (1480 – c. 1528) was an Italian Renaissance painter active in Ferrara and Bologna. He was born and died in Ferrara. He appears to have studied under such as Lorenzo Costa, who also trained Dosso Dossi and Cosimo Tura, and came under the influence of Ercole Roberti. In 1521 he married Giovanna, the daughter of Bartolomeo Vacchi, a Venetian painter. Much of his work was commissioned by the duke Ercole I d'Este from Ferrara. Mazzolino was influenced by il Garofalo and Boccaccino. He is known for devotional cabinet pictures, in a style somewhat regressive, or primitive, relative to the modern classicism then emerging. More

Salomon Koninck AMSTERDAM 1609 - 1656 THE HOLY FAMILY oil on canvas 32.1 by 28 cm.; 12 5/8  by 11 in.:
Salomon Koninck
AMSTERDAM 1609 - 1656
THE HOLY FAMILY
oil on canvas
32.1 by 28 cm.; 12 5/8  by 11 in.

Salomon (de) Koninck (1609 - 1656) was a Dutch painter of genre scenes and portraits, and an engraver. Hewas born in Amsterdam, the son of a goldsmith, originally from Antwerp. Salomon became a pupil of Pieter Lastman, David Colijns, François Venants and Claes Corneliszoon Moeyaert. From 1630 he was a member of the Sint Lucasgilde. He moved in the circles of Rembrandt and the academy of Hendrick van Uylenburgh, making many copies of Rembrandt's compositions. His paintings have a warm colour palette and include many "philosophers" or scholars. Perhaps one of the better known of these is the Philosopher with an Open Book at the Louvre that was long attributed to Rembrandt and served as companion piece to Rembrandt's Philosopher in Meditation. More

Circle of Giovanni Battista Tiepolo THE HOLY FAMILY oil on canvas 39.2 by 35.6 cm; 15 1/2  by 14 in.:
Circle of Giovanni Battista Tiepolo
THE HOLY FAMILY
oil on canvas
39.2 by 35.6 cm; 15 1/2  by 14 in.

Giovanni Battista Tiepolo (March 5, 1696 – March 27, 1770), was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany and Spain. Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period.


Successful from the beginning of his career, he has been described as "the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman." More

School of Utrecht, 17th Century SUSANNA AND THE ELDERS indistinctly signed lower left (?) oil on panel 29.8 by 39 cm.; 11 3/4  by 15 1/4  in.:
School of Utrecht, 17th Century
SUSANNA AND THE ELDERS
indistinctly signed lower left (?)
oil on panel
29.8 by 39 cm.; 11 3/4  by 15 1/4  in.

As the story goes, a fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.


She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are cross-examined about what they saw but disagree about the tree under which Susanna supposedly met her lover. The first says they were under a mastic. The second says they were under an evergreen oak tree. The great difference makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More

School of Utrecht refers to those Baroque artists, all distinctly influenced by the art of Caravaggio, who were active mostly in the Dutch city of Utrecht during the first part of the seventeenth century.

Antwerp School, 17th century SUZANNA AND THE ELDERS oil on canvas 116 by 167 cm; 45 5/8  by 65 3/4  in.:
Antwerp School, 17th century
SUZANNA AND THE ELDERS
oil on canvas
116 by 167 cm; 45 5/8  by 65 3/4  in.

The Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens. More

Gaspar van den Hoecke ACTIVE IN ANTWERP 1595 - 1648 THE ADORATION OF THE MAGI signed lower right: gaspar van Hoecke. In. f. oil on panel 25 by 20.5 cm.; 9 3/4  by 8 in.:
Gaspar van den Hoecke
ACTIVE IN ANTWERP 1595 - 1648
THE ADORATION OF THE MAGI
signed lower right: gaspar van Hoecke. In. f.
oil on panel
25 by 20.5 cm.; 9 3/4  by 8 in.

Gaspar van den Hoecke (c. 1585–after 1648) was a Flemish Baroque painter of small devotional cabinet pieces. He became a master in the Antwerp Guild of St. Luke in 1603. His early works continue Mannerist tendencies that were still popular at the beginning of the seventeenth century, but later the influences of Peter Paul Rubens and Caravaggism are noticeable in his paintings. More

Flemish School, circa 1700 ADORATION OF THE MAGI oil on canvas 41.8 by 61.5 cm.; 16 3/8  by 24 1/4  in.:
Flemish School, circa 1700
ADORATION OF THE MAGI
oil on canvas
41.8 by 61.5 cm.; 16 3/8  by 24 1/4  in.

The Flemish School refers to the paintings of artists who were active in Flanders during the 15th and 16th centuries.

Johann König NUREMBERG 1586 - 1642 THE BAPTISM OF CHRIST signed and dated lower left on the rock: Johan: Konig./ f: 1637 oil on copper, unframed 37.8 by 28 cm.; 15 by 11 in.:
Johann König
NUREMBERG 1586 - 1642
THE BAPTISM OF CHRIST
signed and dated lower left on the rock: Johan: Konig./ f: 1637
oil on copper, unframed
37.8 by 28 cm.; 15 by 11 in.

Johann König (1586–1642) was a German painter. The son of a Nuremberg goldsmith,[1] König was a follower of Adam Elsheimer.[2] He is known today primarily because of his very finely painted copper panels. More

Attributed to Frans Francken the Elder HERENTALS 1542 - 1616 ANTWERP THE MARTYRDOM OF SAINT JOHN THE APOSTLE signed lower right: O . FFRANCK.F (FF in ligature)  oil on panel, the reverse with the star symbol of an Antwerp panel maker, and with remains of the stamp of the Antwerp Panel Makers Guild 59.4 by 42.1 cm.; 23 3/8  by 16 5/8  in.:
Attributed to Frans Francken the Elder
HERENTALS 1542 - 1616 ANTWERP
THE MARTYRDOM OF SAINT JOHN THE APOSTLE
signed lower right: O . FFRANCK.F (FF in ligature)
Oil on panel, 
the reverse with the star symbol of an Antwerp panel maker, and with remains of the stamp of the Antwerp Panel Makers Guild
59.4 by 42.1 cm.; 23 3/8  by 16 5/8  in.

The Martyrdom of St. John. It is often said that St. John the Beloved (the Evangelist) is the only of the apostles who was not martyred, and this is true. St. John did not die a martyrs’ death, he did not shed his blood for Christ. according to the ancient tradition, St. John lived through two attempts upon his life. Once, when he was to be boiled in oil, but came forth from the cauldron healthy and well. And another time, when he was given a poisoned chalice, but remained unharmed. More

Frans Francken  (1542, Herentals – 1616, Antwerp) was a Flemish painter and one of the principal painters in Antwerp during the Counter-Reformation. He is mainly known for his large altarpieces and allegorical paintings. He was a member of the Francken dynasty of painters that played an important role in the Antwerp art scene in the 17th century. More

South German School, early 16th century THE DEATH OF THE VIRGIN oil on panel, unframed 70.2 by 48.1 cm.; 27 5/8  by 19 in.:
South German School, early 16th century
THE DEATH OF THE VIRGIN
oil on panel, unframed
70.2 by 48.1 cm.; 27 5/8  by 19 in.

After Jan Gossaert, called Mabuse VIRGIN AND CHILD ENTHRONED oil on panel 32.8 by 24 cm.; 12 7/8  by 9 1/2  in.:
After Jan Gossaert, called Mabuse
VIRGIN AND CHILD ENTHRONED
oil on panel
32.8 by 24 cm.; 12 7/8  by 9 1/2  in.

Jan Gossaert (c. 1478 – 1 October 1532) was a Flemish painter also known as Jan Mabuse. Little is known of his early life. He was a contemporary of Lucas van Leyden, and was influenced by artists who came before him, such as Rogier van der Weyden, the great master of Tournai and Brussels, and like him, his compositions were usually framed in architectural backgrounds. More

Follower of Pier Francesco Mola THE ANGEL APPEARING TO HAGAR AND ISHMAEL IN A LANDSCAPE oil on canvas, unframed 43.5 by 61.2 cm.; 17 1/8  by 24 1/8  in.:
Follower of Pier Francesco Mola
THE ANGEL APPEARING TO HAGAR AND ISHMAEL IN A LANDSCAPE
oil on canvas, unframed
43.5 by 61.2 cm.; 17 1/8  by 24 1/8  in.

The Angel appears to Hagar and Ishmael. This episode is taken from the Old Testament (Genesis 16 and 21). Abraham has a child called Ishmael by Hagar, the Egyptian maidservant of his aged and barren wife, Sara. When Sara miraculously conceives and gives birth to Isaac, she demands that Hagar and Ishmael should be banished, to which Abraham reluctantly agrees. In the wilderness their supplies run out, but an angel appears and points out a source of water to Hagar. More

Pier Francesco Mola, called Il Ticinese (9 February 1612 – 13 May 1666) was an Italian painter of the High Baroque, mainly active around Rome. More

Guercino (1591 - 1666) 
The Angel appears to Hagar and Ishmael, c.1652-3
Oil on canvas
193 x 229 cm
The National Gallery

Giovanni Francesco Barbieri was called Guercino in reference to his pronounced squint. He was the leading Bolognese painter after the death of Guido Reni. His earlier pictures typically combine the chiaroscuro effects of Caravaggio with a charm and softness not usually found in followers of this artist.

Guercino was born at Cento, near Bologna. He was largely self-taught but influenced by the Carracci and particularly by Ludovico Carracci. An early commission in Bologna was the altarpiece of the 'Investiture of Saint William' (1620, Bologna, Pinacoteca). In 1621 Guercino was invited to Rome to work for Pope Gregory XV. His ceiling fresco, Aurora, was painted for the Pope's nephew (Rome, Villa Ludovisi).


On the death of the Pope, Guercino returned to Cento; he settled in Bologna, probably in 1644, after the death of Reni. His later work is more academic, closer to the manner of Reni, and lacks the bravura handling and chiaroscuro effects of his earlier paintings. More

Onorio Marinari FLORENCE 1627-1715 SAINT MARGARET OF ANTIOCH oil on canvas 65 by 50.6 cm. 25 1/2  by 19 7/8  in.:
Onorio Marinari
FLORENCE 1627-1715
SAINT MARGARET OF ANTIOCH
oil on canvas
65 by 50.6 cm. 25 1/2  by 19 7/8  in.

St. Margaret of Antioch. Nothing certain is known of her, but according to her untrustworthy legend, she was the daughter of a pagan priest at Antioch in Pisidia. Also known as Marina, she was converted to Christianity, whereupon she was driven from home by her father. She became a shepherdess and when she spurned the advances of Olybrius, the prefect, who was infatuated with her beauty, he charged her with being a Christian. He had her tortured and then imprisoned, and while she was in prison she had an encounter with the devil in the form of a dragon. According to the legend, he swallowed her, but the cross she carried in her hand so irritated his throat that he was forced to disgorge her (she is patroness of childbirth). The next day, attempts were made to execute her by fire and then by drowning, but she was miraculously saved and converted thousands of spectators witnessing her ordeal-all of whom were promptly executed. Finally, she was beheaded. That she existed and was martyred are probably true; all else is probably fictitious embroidery and added to her story, which was immensely popular in the Middle Ages, spreading from the East all over Western Europe. She is one of the Fourteen Holy Helpers, and hers was one of the voices heard by Joan of Arc. More

Onorio Marinari (1627 – January 5, 1715) was an Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini. More

Gregorio Lazzarini VENICE 1655-1730 VILLABONA REBECCA AND ELIEZER AT THE WELL oil on canvas 44.6 by 37 cm.; 17 5/8  by 14 1/2  in.:
Gregorio Lazzarini
VENICE 1655-1730 VILLABONA
REBECCA AND ELIEZER AT THE WELL
oil on canvas
44.6 by 37 cm.; 17 5/8  by 14 1/2  in.

Rebecca and Eliezer at the Well shows the story of Abraham's servant Eliezer giving Rebecca jewels to seal her betrothal to Isaac, after she had demonstrated the kindness foreseen by Abraham in offering water to Eliezer's camels. More

Gregorio Lazzarini (1657 – 10 November 1730) was an Italian painter of mythological, religious and historical subjects, as well as portraits. Best known for first training Giambattista Tiepolo, he was one of the most successful Venetian artists of the day and a prominent teacher. His own style was somewhat eclectic. More

Francesco de Mura NAPLES 1696 - 1782 THE JUDGEMENT OF SOLOMON oil on canvas 100.5 by 75.3 cm.; 39 1/2  by 29 5/8  in.:
Francesco de Mura
NAPLES 1696 - 1782
THE JUDGEMENT OF SOLOMON
oil on canvas
100.5 by 75.3 cm.; 39 1/2  by 29 5/8  in.

The Judgment of Solomon refers to a story from the Hebrew Bible in which King Solomon of Israel ruled between two women both claiming to be the mother of a child by tricking the parties into revealing their true feelings. It has become an archetypal example of argument to moderation and that of an impartial judge displaying wisdom in making a ruling. More

Francesco de Mura (21 April 1696 – 19 August 1782) was an Italian painter of the late-Baroque period, active mainly in Naples and Turin. His late work reflects the style of neoclassicism.

He was a pupil of Francesco Solimena, then later with Domenico Viola, where he met his contemporary, Mattia Preti.


While still in his teens he painted frescoes (1715) in San Nicola alla Carità in Naples. He painted ten canvases of the Virtues and an Adoration of the Magi (1728) for the church of Santa Maria Donnaromita. His other works include frescoes of the Adoration of the Magi (1732) in the apsidal dome of the church of the Nunziatella. De Mura also painted portraits. More

Francisco Camilo MADRID 1615 - 1673 THE ANNUNCIATION oil on canvas 85.5 by 82.5 cm.; 33 3/4  by 32 1/2  in.:
Francisco Camilo
MADRID 1615 - 1673
THE ANNUNCIATION
oil on canvas
85.5 by 82.5 cm.; 33 3/4  by 32 1/2  in.

Camilo was training as an artist just at the time Rubens arrived at the court of Philip IV. Camilo, along with artists such as Francisco Rizi, was one of the earliest exponents of the Rubens-inspired High Baroque style in Madrid, elongating the proportions of his figures and creating a sense of movement to enhance the expression of devotional tenderness.

Follower of Theodoor Rombouts THE MEETING OF DAVID AND ABIGAIL oil on canvas 117.8 by 168 cm.; 46 3/8  by 66 1/8  in.:
Rubens, Peter Paul, Sir
Flemish, 1577 - 1640
The Meeting of David and Abigail, c. 1630
oil on panel
44.7 x 66.3 cm (17 5/8 x 26 1/8 in.)

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More

Follower of Theodoor Rombouts THE MEETING OF DAVID AND ABIGAIL oil on canvas 117.8 by 168 cm.; 46 3/8  by 66 1/8  in:
Follower of Theodoor Rombouts
THE MEETING OF DAVID AND ABIGAIL
oil on canvas
117.8 by 168 cm.; 46 3/8  by 66 1/8  in.

The Meeting of David and Abigail, c. 1630. This biblical narrative, recounted in 1 Samuel 25:2–42, describes an episode during David's exile in the wilderness in southern Judah. David, in need of provisions, sent some of his men to request aid from a wealthy sheep farmer named Nabal, whose herd David had let graze unmolested all winter. The sheep farmer curtly refused their request. Infuriated, David set out with 400 armed men to seek revenge.  Nabal's wife, Abigail, having learned of David's impending attack, quickly packed generous provisions—including bread, wine, meat, and fruit—on the backs of donkeys, and set out to intercept David and his soldiers. She pleaded with David to forego his punitive action, reminding him that he was fighting the Lord's battles and should not allow evil into his life. Abigail returned home and her joyous news caused her husband's heart to die "within him, and he became as a stone." Upon hearing of Nabal's death, David assumed that God had acted to support his cause and rejoiced, after which he promptly sent servants to ask Abigail to marry him.  She consented and became David's second wife. More

Jacques d'Arthois BRUSSELS 1613 - 1686 RUDOLF HAPSBURG (1218- 1291) HANDING OVER HIS HORSE TO A PRIEST DELIVERING THE VIATICUM oil on canvas 206.5 by 284 cm.; 81 1/4  by 111 3/4  in.:
Jacques d'Arthois
BRUSSELS 1613 - 1686
RUDOLF HAPSBURG (1218- 1291) HANDING OVER HIS HORSE TO A PRIEST DELIVERING THE VIATICUM
oil on canvas
206.5 by 284 cm.; 81 1/4  by 111 3/4  in.

This highly unusual subject is taken from the Chronicon Helveticum written by Aegidius Tschudi (1505-72) and is again recounted Archduke of Austria and Crown Prince of Austria-Hungary, comes across a priest taking the viaticum to the dying, and in a show of piety hands over his horse for the priest to use.

Jacques d'Arthois (12 October 1613) - May 1686) was a Flemish Baroque painter who specialized in landscapes. He was born in Brussels and was apprenticed to Jan Mertens on 11 January 1625, he became a master in the Brussels Guild of St. Luke in 1634. He had his own workshop and took on pupils, among them his brother Nicolaes, his son Jan Baptist, Alexandre van Herssen, and Philippe van Dapels. He was especially good at painting tree trunks covered in moss and ivy. Paintings from his workshop are referred to collectively as "The Sonian Forest Painters".


In 1655 he was made chartered tapestry cartoon designer of the city of Brussels. At the time of his death he owned several houses (one of which was in the Sonian forest) and a painting collection, though his lavish lifestyle had left him severely in debt. He died in Brussels. More



Index: Ángel Zárraga (1886 - 1946) The Gift, Ángel Zárraga (Mexican Painter 1886 - 1946) Votive Offering [Saint Sebastian], c. 1912, Circle of Marten de Vos (Antwerp 1532-1603) The Annunciation, Workshop of Artus Wolfaerts (Antwerp 1581-1641) The Four Evangelists, Follower of Jacopo Zanguidi, called Il Bertoia (Parma 1544-circa 1573) The Adoration of the Magi, Circle of Jacob de Backer (Antwerp circa 1555-1585) The Crucifixion, Workshop of Gerrit van Honthorst (Utrecht 1590-1656) The Lamentation, Francesco Guarino da Solofra (Sant' Agata Irpina, near Solofra 1611-1654 Gravina di Pulia) Judith with the Head of Holofernes , Francesco Guarino (1611–1654) Saint Agnes, 1650, The Master of the Parrot  THE VIRGIN AND CHILD, Antwerp School, early 16th century, THE CRUCIFIXION WITH SAINTS MARY, MARY MAGDALENE AND JOHN THE EVANGELIST, Manuel Lopez Vazquez (Granada 1920 – 2004), after Rogier van der Weyden, THE ADORATION OF THE MAGI, Anton Kern ADORATION OF THE SHEPHERDS, Antwerp School, first half of the 16th century MARY MAGDALENE, Antwerp School, first half of the 16th century, MARY MAGDALENE, Valencian School, early 16th century PENTECOST, Valencian School, first half of the 16th century CALVARY, WITH MARY MAGDALENE AT THE FOOT OF THE CROSS, Caravaggio, 'The Entombment of Christ 1603–1604, After Anton Raphael Mengs THE DEPOSITION OF CHRIST, School of Toledo, early 17th Century SAINT LOUIS IX OF FRANCE WITH THE ARCHANGEL MICHAEL, Spanish School, 17th century RAPHAEL AND TOBIAS, Pedro Orrente MURCIA 1580 - 1645 VALENCIA, DEPARTURE OF THE PRODIGAL SON, Pedro Orrente
MURCIA 1580 - 1645 VALENCIA, RETURN OF THE PRODIGAL SON, Francisco Camilo, MADRID 1615 - 1673, THE ANNUNCIATION, Bolognese School, 16th Century, THE HOLY FAMILY, Northern follower of Leonardo da Vinci THE HOLY FAMILY WITH SAINT ANNE, Ferrarese School, 16th Century, THE HOLY FAMILY WITH SAINTS ELISABETH AND JOHN THE BAPTIST, Valencian School, 16th century THE HOLY FAMILY WITH THE INFANT SAINT JOHN THE BAPTIST AND SAINT JOHN THE EVANGELIST, Workshop of the Bassano Family, ACTIVE IN BASSANO DEL GRAPPA AND VENICE, CIRCA 1540-1622, THE MOCKING OF CHRIST, Manner of Marco Palmezzano, CHRIST CARRYING THE CROSS, Manner of Marco Palmezzano The Holy Family, After Orazio Gentileschi, SAINT CECILIA WITH AN ANGEL, Matteo Rosselli FLORENCE 1578 - 1650 THE ARCHANGEL MICHAEL, South German School, circa 1600 THE ARCHANGEL MICHAEL, Pietro Sigismondi BORN IN LUCCA - ROME, BEFORE 1624, SAINT AGNES, Circle of Adam Elsheimer, THE MADONNA AND CHILD IN A LANDSCAPE WITH ANGELS, Francesco Trevisani, CAPODISTRIA 1656-1746 ROMA, THE MADONNA AND CHILD, Guy François LE PUY, HAUTE-LOIRE CIRCA 1578 - 1650 LE PUY, THE VIRGIN AND CHILD, Follower of Antiveduto Gramatica HOLY FAMILY WITH THE INFANT SAINT JOHN, Roman School, 18th century MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST , Follower of Giambattista Piazzetta CHRIST ON THE CROSS WITH SAINT FRANCIS, Circle of Jacques Stella JUDITH AND HOLOFERNES, Artemisia Gentileschi (1593–1653) Judith and Holofernes c. 1620 until 1621, Follower of Daniele Crespi SALOMÈ WITH THE HEAD OF SAINT JOHN THE BAPTIST, Onorio Marinari (1627–1715) Salome with the head of John the Baptist, c. 1680, Jacob Willemsz. de Wet the Elder HAARLEM 1610 - AFTER 1675 HAARLEM, CHRIST DISPUTING WITH THE DOCTORS IN THE TEMPLE, Christ disputing with the Doctors, probably about 1520-5, Lodovico Mazzolino, Salomon Koninck AMSTERDAM 1609 - 1656 THE HOLY FAMILY, Circle of Giovanni Battista Tiepolo, THE HOLY FAMILY, School of Utrecht, 17th Century, SUSANNA AND THE ELDERS, Antwerp School, 17th century SUZANNA AND THE ELDERS, Gaspar van den Hoecke 1595 - 1648 THE ADORATION OF THE MAGI, Flemish School, circa 1700 ADORATION OF THE MAGI, Johann König NUREMBERG 1586 - 1642, THE BAPTISM OF CHRIST, Attributed to Frans Francken the Elder HERENTALS 1542 - 1616 ANTWERP, THE MARTYRDOM OF SAINT JOHN THE APOSTLE, South German School, early 16th century, THE DEATH OF THE VIRGIN, After Jan Gossaert, called Mabuse VIRGIN AND CHILD ENTHRONED, Follower of Pier Francesco Mola THE ANGEL APPEARING TO HAGAR AND ISHMAEL IN A LANDSCAPE, Guercino (1591 - 1666) The Angel appears to Hagar and Ishmael, c.1652-3, Onorio Marinari FLORENCE 1627-1715 SAINT MARGARET OF ANTIOCH, Gregorio Lazzarini VENICE 1655-1730 VILLABONA, REBECCA AND ELIEZER AT THE WELL, Francesco de Mura NAPLES 1696 - 1782, THE JUDGEMENT OF SOLOMON, Francisco Camilo MADRID 1615 - 1673 THE ANNUNCIATION, Rubens, Peter Paul, Sir, Flemish, 1577 - 1640 The Meeting of David and Abigail, c. 1630, Follower of Theodoor Rombouts THE MEETING OF DAVID AND ABIGAIL, Jacques d'Arthois BRUSSELS 1613 - 1686, RUDOLF HAPSBURG (1218- 1291) HANDING OVER HIS HORSE TO A PRIEST DELIVERING THE VIATICUM
















Acknowledgement: Sothebeys: