Old Masters, new insights: a look at 6 artworks handpicked by Christie’s experts

‘This Portrait of Vincenzo Morosini is a newly rediscovered and previously unpublished work by Jacopo Tintoretto, Venice’s most brilliant and sought-after portraitist of the late 16th century. Better known today for his sweeping narrative cycles, Tintoretto was equally praised in his time for capturing the likeness and presence of the Venetian elite with unrivalled immediacy.

The sitter, Vincenzo Morosini, was a towering figure in the Republic: Procurator of San Marco, military commander, and trusted diplomat. Painted with piercing psychological intensity, the portrait is not only a masterclass in Tintoretto’s brushwork — it is a vivid evocation of Venice at the height of its cultural and political influence.’

‘Eugen von Blaas is best known for his vivid depictions of everyday life on the streets of Venice. Der Blumenverkäufer offers a glimpse into this world, capturing a flower seller amidst Venetian women enjoying a sunlit terrace. The beautiful scene offers a window into a moment we might otherwise never witness, and the characters and costumes are wonderfully expressive. Originally purchased from a German gallery, the painting can be traced directly back to the artist. It’s a very special piece, perfect for a spring sale.’

‘Little is known about Catherine Lusurier, but the work she left behind is remarkable. At a time when women had limited opportunities, she apprenticed with her uncle, Hubert Drouais, and likely collaborated with his son, a leading portraitist of the era. Portrait of a Young Artist is especially charming. It captures the creative process and reimagines the artist as an intellectual touched by divine inspiration. Surrounded by the accoutrements of his studio, the young sitter sketches the Greco-Roman busts behind him. The painting offers a rare, naturalistic glimpse into 18th-century French portraiture, standing apart from the more formal court portraits by Hyacinthe Rigaud or Élisabeth Vigée Le Brun. It's intimate, inspired and a beautiful reflection of a lesser-known female voice in art history.’

‘Lorenzo Veneziano stands as one of the leading artists in Venice during the second half of the trecento — the 14th century, or mille trecento (1300s) period in Italian art and culture, which bridged the Medieval and Renaissance eras. Untraced since 1931, The Marriage of the Virgin was known to scholars only through black-and-white photographs. Its reappearance marks a rare and exciting rediscovery. Still in its original engaged frame - the integral, structural frame that was built together with the altarpiece - the panel would have formed part of the upper register of a polyptych.

‘I love Veneziano’s sense of naturalism, which you can see in the expressive details of the figures. He explores space through architecture, moving towards a more realistic perspective. It’s fascinating to see this piece alongside later Venetian works in the sale — you can trace how trecento artists were actively working through ideas during a time of artistic transformation.’

‘These paintings are a playful conceit, part of a tradition of trompe l’oeil that depicts the back of a canvas — revealing the hidden side of an artwork. We know almost nothing about the artist, aside from the name E. Hiernault and the fact that they worked during the 18th century. People don’t often think of Old Masters as cheeky or conceptual, but there’s a long history of this kind of self-referential, almost memetic art.

‘Hiernault teases the viewer with clues about what might appear on each painting’s recto. According to the painted label, one is said to depict the creation of the universe and all animals; the other, the fall of man and the story of Cain and Abel. The label also describes the discovery of the fictitious paintings at the foot of Mount Ararat and suggests they once hung in the galleries of the Seraglio in Constantinople. They’re like puzzles, which are especially fun to think about as a specialist who studies backs of paintings.’

‘The Education of the Children of Sparta is a quintessential Neoclassical painting by Jean-Jacques-François Le Barbier, embodying the ideals of the nascent French Republic. Although it debuted at the Paris Salon in 1796, the painting remained otherwise unknown for centuries — never illustrated or published beyond the Salon’s livret. When the current owner brought it to our attention, we checked the Salon’s catalogues and found a perfect match. Everything aligned.

‘The scene portrayed here is taken from the history of ancient Sparta, where fiercely patriotic women were said to have sent their sons to war with the command, ‘Return with your shield, or on it!’ During the French Revolution, this civic imagery struck a powerful chord with an audience determined to establish a new political order in France. Today, the painting continues to resonate. That timeless connection is what makes great art endure.’