Antique paintings
'Still life with pink flowers' Joan van Gent
Dutch flower painter, mid 20th century
Oil on canvas 50×75 cm
Praying Madonna and child in front of Gothic window with gold background,
Italy 1500
Tempera on wooden panel 29 cm x 17 cm
'Mary and Jesus' tempera on panel 16th century Italian Renaissance Dim. :+/-78.5x64cm.
Antique icon: Our Lady of Sorrows
About 1750 Origin: Russian Federation Style period Baroque
panel/ silver arrows and aura
Height 70 cm. Width: 50 cm.
Thiele, Alexander 1924
Munich Garden party at the Starnberger See
Signed lower right: A. THIELE
“The Beautiful Harvest” Paul Leuteritz
Mixed media, 58 x 72 cm.
Paul Leuteritz, 1867 Pohrsdorf – 1919 Munich
Signed
Lucas Cranach the Elder (German: Lucas Cranach der Ältere) (Kronach, 1472 – Weimar, 16 October 1553) was a German painter, engraver and etcher of the Renaissance period.
He was the father of the painters Hans Cranach and Lucas Cranach the Younger.
“A happy couple”, Atelier Lucas Cranach the Elder and Lucas Cranachde Younger
Tempera on panel 53 cm x 37 cm parquet.
Based on an apparently great commercial success, the pictorial theme of the unlikely couple became one of the most repeated themes in the Cranach workshop. The digital corpus of Cranach currently lists 129 works in this group of works alone. They all go back to a prototype made by Cranach the Elder. back, which is now in the Kunsthistorisches Museum in Vienna (inv. no. GG 895). This is dated around 1530. The pictorial theme can be traced back to antiquity, north of the Alps Jacopo de Barbari, Cranach's predecessor as court painter in Wittenberg, was probably the first to depict it. The important scholar and humanist Erasmus von Rotterdam anticipates the pictorial theme in his famous satire "Lof der dwaasheid(1509) and makes fun of those older, toothless, white-haired men who propose to young women. The young woman in Cranach the Elder .Ä. is dressed according to the latest fashions in the present version, her carefully coiffed hair is encircled by a hair net and she wears valuable necklaces. However, their eyes do not meet. While he may be thinking in anticipation of one of the nights to come, it seems in her imagination already in a promising future after his death
Wim van Norden, 1917 Bussum – 2015 Amsterdam
“Ships for Amsterdam”
Signed, 60 x 100 cm.
Anton Doll
1826 Munich – 1887 Ibid
“Hay for the winter”
Oil on canvas 61 x 76 cm.
Signed lower left: A. Doll München
