{"title":"Paintings After the Old Masters","description":"\u003cp\u003e\u003cstrong\u003eA painting after an Old Master is a period copy: a hand-painted canvas made by a trained professional of a later generation, following a composition by a named master he could study but never own.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOur works after the Old Masters range from a seventeenth-century Ecce Homo after Correggio to a French Assumption dated 1881 after Poussin, taking in Raphael, Van Dyck and Rigaud along the way, each an authenticated antique oil, several of them dated by the copyist's own hand, offered for sale and shipped free from France to the USA and Canada. To understand what the word after claims and what it does not, read our guide to \u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/period-copies-after-the-old-masters\" title=\"Period copies after the Old Masters\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003ePeriod Copies After the Old Masters\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"portrait-lord-thomas-howard-after-van-dyck-dutch-oil-painting-19th-century","title":"Portrait of Lord Thomas Howard, After Anthony van Dyck, 19th Century Dutch Oil on Panel, Framed","description":"\u003ch2\u003ePortrait of Lord Thomas Howard, Earl of Arundel\u003c\/h2\u003e\n\u003cp\u003eThis small oil on panel depicts a man in three-quarter view, wearing a white lace ruff collar and dark clothing. The sitter is Thomas Howard, 14th Earl of Arundel, one of the most important English art collectors of the early 17th century. The composition follows Anthony van Dyck's well-known portrait of Howard, with the figure set against a dark background that concentrates attention on the face and collar. The brushwork is firm and controlled, with visible attention to the texture of the lace and the modeling of the face. The warm flesh tones are set off by the deep blacks of the costume and the cool whites of the ruff.\u003c\/p\u003e\n\n\n\u003ch2\u003eVan Dyck Copies and the Dutch Old Master Tradition\u003c\/h2\u003e\n\u003cp\u003eCopying the works of celebrated painters was a central practice in European art training from the Renaissance through the 19th century. Anthony van Dyck, court painter to Charles I of England and one of the greatest portraitists of the Baroque era, was among the most copied artists in the Western canon. His portraits of English aristocrats, including several of Thomas Howard, became reference works studied and reproduced by generations of painters across Europe. In the Netherlands, where Van Dyck had trained under Rubens and first established his reputation, the tradition of copying his portraits remained active well into the 1800s, both as studio exercises and as commissions for collectors who valued the compositions.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Van Dyck\" means, and what it does not claim\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215063359820,"sku":"GC-PORT-19-001","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_033cbe1b-6d0f-4713-abaf-eaea3a8dab24.png?v=1775671526"},{"product_id":"madonna-child-after-raphael-sanzio-oil-canvas-19th-century","title":"Madonna and Child with St. John the Baptist, After Raphael Sanzio, 19th Century Oil on Canvas, Framed","description":"\u003ch2\u003eMadonna and Child with St. John the Baptist\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the Madonna with the Christ Child and the young St. John the Baptist, following a composition by Raphael Sanzio (1483-1520). The Virgin is depicted holding the Child on her lap while St. John approaches from the side. The figures are placed within a landscape that includes distant hills and a soft sky. The modeling of the faces is smooth and rounded, consistent with the Raphaelesque tradition. The canvas has been relined on a second canvas, indicating past conservation. The palette is restrained, with warm skin tones set against muted greens and blues in the background. The painting is presented in its period frame.\u003c\/p\u003e\n\n\n\u003ch2\u003eCopying Raphael: A European Tradition\u003c\/h2\u003e\n\u003cp\u003eCopying the works of Raphael was a central practice in European painting from the 16th century onward. In the early 19th century, students at the academies of Paris, Rome, and Florence were trained by reproducing the compositions of the Old Masters, and Raphael's Madonnas were among the most frequently copied subjects. These copies served as study exercises, as devotional images for private collections, and as records of compositions that were not always accessible to the public. A well-executed 19th century copy after Raphael is both a document of the academic tradition and a painting in its own right, reflecting the skill and training of its maker. The relined canvas on this work indicates that it has been valued and maintained over the course of its life.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ Reading \"after Raphael\": what the term actually says\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215072764236,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Madonna_and_Child_with_St._John_the_Baptist_after_Raphael_Sanzio_19th_century_oil_on_canvas_framed.png?v=1778276496"},{"product_id":"louis-de-france-portrait-after-rigaud-french-school-18th-century","title":"Antique French Baroque Royal Portrait — Oil on Canvas, After Hyacinthe Rigaud, 18th Century, Framed","description":"\u003ch2\u003ePortrait of a Young Nobleman in French Court Dress\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas shows a young man in a long powdered wig and a red velvet cloak draped over a white lace cravat. The pose is frontal and composed, the background dark and neutral. The face is painted with smooth modeling and soft light falls from the left, picking out the pale skin against the deeper tones of the fabric. The brushwork on the cloak is loose in places, with visible texture in the folds.\u003c\/p\u003e\n\u003ch2\u003eFrench Court Portraiture in the Age of Louis XIV\u003c\/h2\u003e\n\u003cp\u003eBetween 1700 and 1710, French portraiture was dominated by the formal style of the royal court at Versailles. Hyacinthe Rigaud (1659–1743) was the leading portrait painter of this era and ran a large studio that produced numerous works for the aristocracy. Paintings from his circle typically follow a set format: a three-quarter view of the sitter in court dress, dark background, and careful attention to textiles and wigs. The subject here is identified in historical records as Louis de France, a title used by several princes of the Bourbon line during this period.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Rigaud\" claims, and what it leaves open\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215075090764,"sku":"650","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Antique_French_baroque_royal_portrait_oil_painting_on_canvas_early_1700s_framed_circle_of_Rigaud.png?v=1776419091"},{"product_id":"assumption-virgin-after-poussin-oil-canvas-1881","title":"After Nicolas Poussin, The Assumption of the Virgin, Oil on Canvas Dated 1881, Framed French Religious Painting","description":"\u003ch2\u003eThe Virgin Carried to Heaven\u003c\/h2\u003e\n\u003cp\u003eThe Virgin rises on a bank of cloud, arms open, her drapery caught in the same updraft that carries the ring of putti wheeling around her. Below, the empty tomb anchors the composition to the ground the figures are leaving. The vertical thrust, the tumbling angels, the strong diagonal of the mantle — all of it goes straight back to Nicolas Poussin's celebrated Assumption of the Virgin. This canvas is a 19th-century repetition after the master, dated 1881 at the lower left, painted more than two centuries after Poussin's death in 1665. That is exactly what \"after Poussin\" means and it is the honest label for the work. The copyist held the palette close to the Baroque model: warm golds in the light, deep blue in the Virgin's mantle, grey cloud built up in layers. Some losses to the paint layer, visible in the photos.\u003c\/p\u003e\n\u003ch2\u003eCopying the Masters in 19th Century France\u003c\/h2\u003e\n\u003cp\u003ePainting a full-scale copy after an Old Master was not a shortcut in the 19th century — it was the backbone of academic training and a respected trade in its own right. The Louvre issued permits to copyists by the hundreds; churches and private chapels commissioned repetitions of famous altarpieces they could never own. A dated copy like this one, made in 1881, tells you someone stood in front of a Poussin composition, or a fine engraving of it, and worked through it inch by inch. For today's collector, a period copy offers the architecture of a great Baroque image — one of the grandest Marian subjects in French painting — at the scale of a private interior, with the age and surface of a genuinely antique canvas.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Poussin\" claims, and what it does not\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228438896972,"sku":"355","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Oil_on_canvas_after_Nicolas_Poussin_The_Assumption_of_the_Virgin_dated_1881_framed_19th_century_French_religious_painting.png?v=1784035524"},{"product_id":"ecce-homo-old-master-oil-painting-17th-century-italian-baroque-framed","title":"Ecce Homo, 17th Century Old Master Oil on Canvas after Correggio, Italian Baroque, Framed","description":"\u003ch2\u003eChrist in Suffering: an Ecce Homo from the Italian Baroque\u003c\/h2\u003e\n\u003cp\u003eThis oil painting depicts Christ at the moment of his presentation to the crowd, bound and wearing the crown of thorns. The figure emerges from a dark, undefined background, the face turned slightly to the left, eyes cast downward. Light falls across the bare torso and illuminates the hands clasped together at the wrist. The brushwork is fluid across the skin tones, with warm ochres and pinks layered against the cool shadow of the drapery. The composition is tight, focused entirely on the upper body and face, in the Italian tradition of devotional half-length figures.\u003c\/p\u003e\n\n\n\u003ch2\u003eThe Ecce Homo in Italian Baroque Devotional Painting\u003c\/h2\u003e\n\u003cp\u003eThe Ecce Homo was among the most widely painted subjects in Italian art from the late 1500s through the 1700s. The theme, drawn from the Gospel of John, became a vehicle for artists to explore the depiction of human suffering and divine grace within a concentrated format. Antonio Allegri da Correggio (1489-1534), the Parma-born master, produced several versions of this subject that became models for later painters. Copies and school works after Correggio circulated throughout Italy for over two centuries, reflecting both the enduring demand for devotional imagery and the influence of his soft, luminous painting style on successive generations.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Correggio\" claims about this canvas\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228515279180,"sku":"GC-RELIG-17-002","price":11000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_714ba0ed-d627-4df1-99a9-75e61ba8142f.jpg?v=1775814153"},{"product_id":"rebecca-eliezer-after-poussin-old-master-oil-painting-french-biblical","title":"After Nicolas Poussin, Eliezer and Rebecca at the Well, Oil on Canvas, Old Master Period Copy","description":"\u003ch2\u003eEliezer and Rebecca at the Well\u003c\/h2\u003e\n\n\u003cp\u003eOil on canvas, unframed, a period copy after Nicolas Poussin. Available to acquire.\u003c\/p\u003e\n\n\u003cp\u003eEliezer stands at the centre in a turban and a long ochre robe with blue sleeves, both hands raised as he speaks. Rebecca faces him in a blue skirt and green mantle, one hand at her breast. Around them a dozen young women crowd the well with their jars: one carries a green pitcher on her head, one kneels in yellow and blue to fill hers, others watch from the right in green, coral and white. Behind, a pale classical town climbs the left side, and a single pillar carrying a stone sphere marks the right. The whole is built in the clear, even light Poussin reserved for his Roman subjects.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas is unframed, with wear at the edges consistent with age.\u003c\/p\u003e\n\n\u003ch2\u003ePoussin's Composition, and Why It Is Recognisable\u003c\/h2\u003e\n\n\u003cp\u003eThe model is Poussin's Eliezer and Rebecca, painted in Rome in 1648 for the Parisian banker Jean Pointel and now in the Musee du Louvre. Pointel had admired Guido Reni's Virgin sewing among her companions and asked for a picture showing several young women in whom different beauties could be seen; the subject, from Genesis 24, was Poussin's own choice. The painting entered the collection of Louis XIV in 1665 and hung in the Louvre from the museum's opening in 1793, where generations of copyists worked in front of it.\u003c\/p\u003e\n\n\u003cp\u003eOne detail identifies the model with certainty. Painters who treated this subject almost always show Eliezer's camels, the exotic note that makes the story legible at a glance: Sebastien Bourdon puts the herd on the right, Cotelle sets the animals at the centre. Poussin leaves them out entirely, and so does this canvas. It follows the Louvre composition, not the subject in general.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ Where \"after\" sits on the ladder of attribution\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228522127692,"sku":null,"price":4700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_407d9b22-1366-4491-8d62-3a3861175a76.png?v=1775814183"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/collections\/57_cc80b317-2e79-4008-a4d6-16a93e216f5b.webp?v=1784907953","url":"https:\/\/galerieclub.com\/collections\/paintings-after-the-old-masters.oembed","provider":"GalerieClub Fine Art","version":"1.0","type":"link"}