Unknown

Baroque Neapolitan painter - 17th century figure painting - Joseph Potiphar wife

c.1670

Italian painter (18th-19th century) - Female nude. 44 x 54 cm unframed, 54 x 64 cm with frame. Ancient oil painting on canvas mounted on a panel, in a carved and gilded wooden fram...

French Master (18th century) - Allegory of the Arts. 53 x 72 cm unframed, 63 x 83 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (not signed). Condition r...

Pier Dandini (Florence 1646 - Florence 1712) attributed - The Continence of Scipio (preparatory sketch). 50 x 37 cm. Ancient oil painting on canvas, without frame (not signed). - ...

Girolamo Negri, known as Boccia (Bologna 1648 - Bologna after 1721) - Sibyl. 65 x 50.5 cm unframed, 90.5 x 75 cm with frame. Antique oil painting on canvas, in a carved and gilded ...

A fine 18th century oil on canvas "Joseph and Potiphar's wife" This large and impressive painting depicting Joseph rebuffing Potiphar's Wife's advances. An act which stripped him of ...

A striking Italian 17th century Venetian st. oil on canvas painting of Joseph fleeing Potiphar's Wife. The painting depicts the classical scene of Potiphar's wife seducing Joseph. As...

Willem Muys was a Dutch, 18th-century painter of history pieces, portraits and cabinet pieces. Above all, he appears to have been active as a painter of ‘wallpaper’. Until the mid-18th century, ‘wallpaper’ was not painted on paper but on coarsely woven linen. Wealthy citizens had their mansions or country estates adorned with ‘wallpaper’ with landscapes, exotic birds or chinoiseries. Willem Muys mainly painted ‘wallpaper’, which means that few of his works have been preserved. They are hardly represented in public collections. The works of his sons, Nicolaas en Robbert, both painters, are a little less rare. The painting with Rebecca and Eliezer...

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...