Sandro Botticelli's Oil Paintings
	Sandro Botticelli Museum c. 1445 – May 17, 1510. Italian painter.
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Here are all the paintings of unknow artist 67

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
73292		Studlhutte im Jahre	Studlhutte im Jahre 1874 cjr
72592		Study for Welch Mountain from West Compton	Date ca. 1856(1856) Medium Oil on paperboard Dimensions 20.6 X 31 cm (8.11 X 12.2 in) cyf
71456		Study for Welch Mountain from West Compton, New Hampshire	ca. 1856(1856) Oil on paperboard 20.6 x 31 cm (8.11 x 12.2 in)
27368		Study of a bearded old man,possibly a hermit,half-length	mk56 oil on canvas,unframed Circle of Jusepe de Ribera,called lo Spagnoletto
79839		Study of Hawaiian Fish	1898(1898) Oil on canvas cjr
49686		Sturt and his foljeslagare wonder kartmatning wide farden to the interior of Anustralien 1844-45	mk199
45700		Style life with hobem beer glass	MK186 1653 Oxford, Ashmolean museum
45575		Style life with strawberries and Artischocken	mk186 around 1650 Poggio a Caiano, villa Medicea, Museo della Natura Morta
76064		Sultan Abdulmecid.	1850-1859 Oil on canvas 81.5 ?? 60 cm (32.1 ?? 23.6 in) cjr
34205		Sultan Husayn Mirza in mystical contemplation of the rose	mk90 Detail of the frontispiece to the manuscrept of the Bustan
34169		Sultan Husayn on this throne	mk90 Detail from the Illustration
34190		Sultan Muhmud of Ghazni depicted as a young Safavid prince visiting a hermit	mk90 Mashhad c.1577-88
72178		Sultan Sanjar and the Old Woman	between 1735(1735) and 1765(1765) Oil on canvas 91.4 X 88.9 cm (35.98 X 35 in)
73798		Sultan Sanjar and the Old Woman	Date between 1735(1735) and 1765(1765) Medium Oil on canvas Dimensions 91.4 X 88.9 cm (35.98 X 35 in) cyf
76323		Sultan Selim III in Audience	1803(1803) Medium English: Oil cyf
74854		Sultan Selim III in Audience.	1803(1803) Oil cjr
74000		Summer Pastoral, Bresle Valley	Digital Reproduction of an original oil painting "Summer Pastoral, Bresle Valley" by Emile van Marcke de Lummen. Français : Summer Pastoral, Bresle Valley cjr
74001		Summery landscape	"Summery landscape", oil painting on wood, 39 x 34 cm, by Louis Robbe (1806-1887); private collection cjr
75501		Summery landscape	English: "Summery landscape", oil painting on wood, 39 x 34 cm, by Louis Robbe (1806-1887); private collection cyf
49723		Sun Royal	mk203 barley 1669,var one of they fornamsta farygen in Ludvig XIV.
71251		sunday	mk290 1888-1890 59x59in private collection
73542		Sunday Evening	Oil painting on canvas cjr
41881		Sunday of the Triumph of the Orthodoxy	mk165 Melkite icon of the 18century
49241		Sunday Review at Bayley Cross Roads	mk195 1861 Watercolor on paper 6x9
26613		Sunlit Farm	mk51 Watercolor 10x14
73265		Sunrise at Batz-sur-Mer	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
56895		Sunrise in the thin Zachary	mk250 year in 1660-1670. Matt watercolor, gold and silver paper-winged canopy, 24.8 x 21 cm. Philadelphia, Barack ovens private collections.
74003		Sunset at sea	"Sunset at sea", oil painting on canvas (34 x 44 cm), door Romain Steppe (1859-1927); private collection cjr
75502		Sunset at sea	English: "Sunset at sea", oil painting on canvas (34 x 44 cm), door Romain Steppe (1859-1927); private collection cyf
73172		Sunset by the Sea, Brittany	Oil painting reproduction of Ferdinand du Puigaudeau cjr
73549		Sunset in Briere I	Oil painting reproduction of Ferdinand du Puigaudeau. cyf
73168		Sunset in Briere II	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
73543		Sunset in Briere III	English: Oil painting reproduction of Ferdinand du Puigaudeau. cyf
79490		Sunset in the Forest	1878 Oil on canvas 106.5 x 81 cm (41.9 x 31.9 in) cjr
73547		Sunset of the Breton Coast	: Oil painting reproduction of Ferdinand du Puigaudeau. cyf
73162		Sunset on the Coast	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
73156		Sunset on the Grande Briere	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
79715		Sunset on the Passaic	1891(1891) Source Honolulu Academy of Arts cyf
57178		Supremacists No. 58	mk253 oil painting in 1916 in St. Petersburg, Russia museum
75103		Sur la place ensoleillee de l eglise	Date 19th century Medium Oil on panel Dimensions 52 X 40 cm (20.47 X 15.75 in) cyf
49234		Surprise of the Pickets at Peck-s House	mk195 1861 Watercolor on paper 6x9
63846		Surrender of the Burghers of Ghent in	. 1454 Illumination on parchment, 20,8 x 14,7 cm ?sterreichische Nationalbibliothek, Vienna The miniature comes from the manuscript Privileges and Statutes of Ghent and Flanders, the artist is referred to as the Master of the Privileges of Ghent and Flanders. Philip the Good had this manuscript written and magnificently illuminated after his decisive victory over the citizens of Ghent. The full-page miniature faithfully depicts the scene described in the text, when the defeated burghers came out to meet Philip wearing only their shirts or a black robe, barefoot and bareheaded, and had to beg for mercy. We can see them surrendering their guild banners, symbols of civic self-determination.Artist:MINIATURIST, Netherlandish Title: Surrender of the Burghers of Ghent in 1453 Painted in 1451-1500 , Flemish - - illumination : historical
73507		Susanna.	Medium ? Dimensions ? X ? cm cyf
77907		Suspicion	"Suspicion", 28.5 x 38 1/4" oil-on-canvas painting by Herbert William Weekes (fl. 1864-1904) This is a faithful photographic reproduction of an original two-dimensional work of art. The original image comprising the work of art itself is in the public domain because its copyright has expired. Under UK copyright law, originality of expression is necessary for copyright protection, and a mere photograph of an out-of-copyright work may not be protected under UK copyright law. This photographic reproduction is therefore also in the public domain. cjr
61301		svaalt och hungersnod fran tiden for franska revolutinen	mk274 svaalt och hungersnod fran tiden for franska revolutinen
59851		svarttjarn	mk269 1852 olja pa duk 108 x 155.5 cm privatago
57158		Swan Princess	mk253 canvas 142.5 x 93.5 cm Moscow in 1900, the State Tretyakov Gallery collection
49568		Swede arm gar over river Lech	mk201 It was in this knock the katolske faltherren To Sarajevo to dods. Whys did cinnamon the lattare ago equestrienne that attend to over river
48906		Swede landskap,motiv stamp Kolmarden	mk187 1866 Oil slick pa screen 169x226cm
48898		Swede watercolour	mk187 1856 Oil slick pa screen 85.5x71.5cm
62504		Swiss Guard and Wounded Veteran	1819 Lithograph, 393 x 330 x 362 mm Mus?e du Louvre, Paris Like Goya G?ricault turned to printmaking, choosing the new technique of lithography to reach a popular audience. There is pity in his lithographs of the wounded returning from campaign, above all in The Retreat from Russia. These exhausted soldiers stand for an entire nation; but that they have not lost their pride is clear from a companion print, in which a one-legged veteran defiantly shows off his campaign medals to a slouching Swiss guard outside the Louvre, forcing him to present arms. Author: G?RICAULT, Th?odore Title: Swiss Guard and Wounded Veteran Form: graphics , 1801-1850 , French , other
68225		sylvius malning av exotiska besokarese	se
67286		Szermentowski	Description Bydlo na pastwisku by J??zef Szermentowski.jpg Polski: "Bydło na pastwisku" Date Source http://pinakoteka.zascianek.pl
49614		T.v. This average manuscript am exposing how Alexandria guddar Later generation in Persia was considering Alexandria wrap somen halvgud and Shelf him	mk199
62429		Tabernacle	1283 Marble Santa Cecilia in Trastevere, Rome The tabernacle on the altar of Santa Cecilia in Trastevere seems to be complete in its state of conservation. According to a recently discovered inscription, it was made by Arnolfo di Cambio in 1293. It forms part of the final moment of an ample and consistent effort at restoration of the entire decorative system of the church of Santa Cecilia, which included the well-known Cavallini frescoes, the liturgical furnishings, and sculptural ornament. The obvious Gothic 'Rayonnant' character of this revision has recently been attributed to the patronage of a French cardinal, while the direction of the whole project has been attributed to Arnolfo, who, working in the last decades of the thirteenth century in the service of the major families, the new preaching orders, and the popes, without a shadow of doubt dominated the panorama of the most innovative Roman trends in the artistic field. The tabernacle repeats the structural complex and decorative scheme of the San Paolo fuori le Mura tabernacle but simplifies and strengthens the Gothic forms, creating a new proportional balance between the parts and revoking the concept of the whole in light of a more mature assimilation of the classical references. With respect to his first interpretation in Rayonnant taste, here Arnolfo reduced and redirected the ascending elements of the base of the cupola and the pendentives of the crown, and in addition attenuated the vertical soaring of the four gables and the trefoil arcades of the baldacchino, but created a notable development in the height of the supporting columns, to which he also added the original solution of cube-shaped dosserets, decorated with Cosmatesque mosaic. Author: ARNOLFO DI CAMBIO Title: Tabernacle , 1251-1300 , Italian Form: sculpture , religious
35409		Tahiti Revisited	mk102 1776 Oil on canvas 92.7x138.4cm
35413		Tahiti,bearing South East	mk102 c.1775 Oil on panel 24.1x45.2cm
48826		Takmalning in Save kyrka,Bohuslan	mk187 1704 Oils pa tra Motivate am failing hamtat from Luneburgerbibeln pressure 1672 Bergen in background had suit to they bohuslanska klippornas double pious.
48774		Takmalning pappa	av ta aterger Stefanslegenden.Omkring 1275-130
74407		Tallinna vaade Piritalt	English: Oil on canvas. 35.5 x 71 cm. Eesti: "Tallinna vaade Piritalt" (19.- 20. saj. vahetus) Materjal: Õli, lõuend Mõõdud: 35,5 x 71 cm cyf
64229		tapestry of courtly life	late fifteenth century paris, muse'e de cluny
67368		Targ w Opatowie	Year 1845(1845) Technique Oil on canvas Dimensions 56 ?? 76.4 cm (22.05 ?? 30.08 in)
72308		Tatra Mountains	Date 1870(1870) Medium Oil on canvas Dimensions 90 X 127 cm (35.43 X 50 in) cyf
56801		Tax money	mk250 Florence, Italy, Ya Kami Mary's church in Chapel Bulangkaqi. About the year 1427. Frescoes, 246.4 x 596.9 cm
42551		Teaching Buddha from Sarnath	MK169 india Gupta 5e century n. Chr. Sand stone height 157.5cm Museum of Sarnath
73875		Teekond Noa laeva	Date ca. 1650(1650) Medium Oil on canvas Dimensions 94 X 122 cm (37.01 X 48.03 in) cyf
52605		Tempera and leaf on panel	121 x 96,5 cm
48533		Temple and flowerbed in the garden of the Hon	mk190 Richard Bateman at Grove House
56735		Temple of Hera	mk250 Italy's Sturm Bo Ai, about 460 years BC.
48875		Teresa Vandoni,italiensk sangerska wide royal Opera in Stockholm	mk187 1797 Oil slick pa screen 178x150cm
71056		tete de femme	mk289 besancon musee des beaux arts
39829		Thakur Daulat Singh,His Minister,His Nephew and Others in a Council	mk153 ca.1820 29.1x39.4cm
49702		That a unusual ocb nagot forbryllande cartoon of Bruegbel d a am exposing battle as gar among quay ocb they with latinsegel riggade superb galeonerna	mk203 They langa diagonal spirorna pa vessel to blemish give a assignment if unborn riggar
49745		That aquarium of the American fregatten Constitution millings of command John Rogers,som had chosen benne as flagship anti Barbareskstaternas sjorovar	mk203 This vessel am failing the American people chart and raddades stamp upphuggning per a rousing poem of Olive Wendell Holmes
49731		That boljande tvatt am creating a stammer of bekymmerslos jolly as konstnaren Ozanne very whale bare fangat	mk203 Cannons avlossas,standar,flaggor ocb ensign blasphemy and sail flutter in the wind nar besattningen am grabbing anti gastritis ago a feast aboard
49728		That cartoon of Experiment Herring	mk203 am exposing vessel to boger with a flag pa mizzen mast as designates that the back a royal fleet
49724		That etching of Ozanne,kalled Drawing of one vessel forelagges king of they French provinserna place if cage Choiseul wonder Ludving XV pa one stralan	mk203 Vessel had sometimes provinsnamn sasom Artesien and Bourgogne.
49615		That French malning am exposing how Alexandria and his medelhavssjoman flush arrived in switch with tide wide river Industry lower bore	mk199
49638		That guldlama - the usual lastdjuret in Sydamerika am exposing one test pa collect guldmideskonst	mk199 They anvande metal only ago ornamental breath
49727		That luxuriant ocb in bow pitch allegorise marinmalnig of Ludolf Backbuysen	mk203 paminner if that might ocb macaw be added the nation as bare berravalde to sjoss
49556		That malning from a average bonbok am describing a pious woman motel with the sacred The virgin	mk201
49711		That malning of Creditable Cornelis Vroom am exposing	mk203 The lucky aterkomsten to Amsterdam the 19 a hiding 1599 of Jacob cornelis motor van Neck s second expedition til lOstindien
49726		That malning of the younger motor van they Velad	mk203 am exposing Gouden Leeuw,eller The Oriole Lejonet,den depend bollandske admiral COrnelis Trombone Flaggskepp,som am laying in Amsterdam to trangsel full bamn am failing 1680
49631		That maps am exposing the vague as Stamp Kite expedition 1583 taken anti Hispaniola	mk199 Cartagena and St.Augustine in Veil.
49713		That maps over Still sea tillskrius Hessel they Gerritsz	mk203 Avenue if the am failing langtifran fullstandig am exposing the in large what husband candied til in this omrade dren about 1630
49678		That prospect stamp Mc Murdosundet millings of dr Edward Wilson	mk199 som each scientific partners in Scotts go bathing expedition
49760		That valijakt - scene of Louis tbe Breton,en sjoman - artist as after all 1866,praglas by an sallsynt exactitude and observationsformaga	mk203 A American valfangare am laying bees in British farvatten,under Royal Navys vacancies oga,medan bennes battle forsoker that weather sits loot said nare coast
49751		That vy over Nelson Sea pa New Zealand millings 1841 of T.Allom and am combining a charmfull konstnarlig maybe with a very grand precise in detaljer,s	mk203 Countless sadana konstnarliga evidence stayed accomplishment of expedition as bekostades of England.
49649		The 24 am failing ancient scotch sheet Mungo Park be in charge a of they flush expeditionerna to Africa 1795	mk199 His moths each that find Nigers calling and estuary
35447		The Adelphi under Construction	mk102 c.1771 Oil on canvas 46.4x60.3cm
27363		THe adoration of the shepherds	mk56 oil on panel,arched top Attributed to Orazio Samacchini
27389		The adoration of the shepherds	mk56 oil on canvas Studio of jacopo da ponte,called jacopo bassano
27366		The Adoration of the magi	mk56 oil on canvas Venetian School,circa 1600
63959		The Adoration of the Magi	1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious
63962		The Adoration of the Magi	44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious
63966		The Adoration of the Magi	1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious
65022		The Adoration of the Magi	1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious
29815		The Adoration of the Magi and The Crucifixion	mk67 Panel 21 1/4x41in Bargello,Museum
27388		The adoration of the shepherds	mk56 oil on canvas Venetian School,18th Century
43455		The Ages of man was a subject of meditation	mk172 Favored by the Baroque culture

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All the Sandro Botticelli's Oil Paintings

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