Nicholas Hall

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We are an art gallery specializing in Old Master paintings. Discover 700 years of European art to buy and sell.

With over 40 years of experience in sourcing and selling some of the finest Old Master paintings, sculpture and drawings on the market, Nicholas Hall is among the most trusted and reputable dealers of classical European art. Privacy and discretion is paramount to our business and our appointment-only modus operandi gives you the confidence to sell, maintain and grow your collction with us.

10/05/2026

Zurbarán encore — but different from the National Gallery version in the loans, the comparison with Murillo, Modernism, and an entire pendant exhibition of 17th-century polychrome sculpture from the museo nacional de escultura Valladolid. Like a Möbius belt one show morphs into the other.

09/29/2026

Riding on the religious fervor in Paris, I went to see Tintoretto’s new monographic show at the Musée Jacquemart-André , the first of its kind in France. A prolific and potent portraitist, Tintoretto often painted mythologies with a lightness of touch, but it is in his sacred subjects that one witnesses his visionary ability to dramatize stories — in the vigorous poses of the crowds, his bold sense of movement, dizzying perspectives and compression of space. In New York we are perhaps more familiar with his impact on modern sensibilities through El Greco whereas this exhibition reflects on Tintoretto’s versatile output and cult-like following in France, with paintings by Ingres, Delacroix, Manet and Cézanne inspired by (or copied directly from) the Venetian artist also on view. Can you tell which is which?

09/19/2026

One may feel differently in the Gallerie degli Uffizi but in their recent loan exhibition in Beijing, Disegno vs. Colore, the age-old competition between Florentine design and Venetian color, had no clear winner. A full room dedicated to the Venetian school, with Titian’s flora as its centerpiece, is a recognition that not only Botticelli, Raphael and Da Vinci, but also Titian and Bellini are revered here. Name recognition is not everything: many more people stopped in front of Rosso Fiorentino’s lute playing cherub and Titian’s Flora than Caravaggio’s fine portrait of Fra Antonio Martelli. There were also obvious favorites among the handful of portraits by Raphael, none of which came to the recent New York retrospective.

#文艺复兴

09/10/2026

Starting with his first acquisition of a $1000 contemporary still life, Jon Landau, the renowned manager of Bruce Springsteen, went on to own a great collection of Tintorettos, Titians, and other Venetian 16th-century paintings. How did his art collecting journey take its current shape? What advice and regret does he have for someone new to the game? Before we left for Venice in the summer, Jon spoke at our gallery about his love of European Old Master paintings and the lagoon city. Now that 47-minute conversation is live on our website. Check it out via the link in bio.

Joseph Joseph Studio

07/30/2026

Where Vivaldi was baptized

(🔉on)

07/08/2026

Through one of the densest urban forests in the world, away from the noise of Rio de Janeiro, there is a waterfall known as the Cascatinha Taunay. Most people who hike past it today have no idea who Nicolas-Antoine Taunay was, or why a French academician who spent just five years in Brazil in the early nineteenth century left his name on a waterfall in the mountains above the city.

Camila Maroja grew up with that forest at her back. Her latest article in our Journal follows the extraordinary journey of the French painter who, among other contributions, recorded the Brazilian landscape and helped to establish the original Imperial Academy of Fine Arts in Rio. Click the link in bio to learn more.

07/02/2026

On the eve of America’s 250th birthday we published the newly digitized Lombard Index, a census of Lombard paintings from 1300–1800 in North American public collections. Born out of an exhibition at our gallery in 2019, it has been updated since it was originally compiled by the late Virginia Brilliant (1979–2025), who was known to many of our friends, clients and colleagues since her time as chief curator at the Ringling in Sarasota, Florida. Among the many schools of Baroque art in its collections, the Lombard school was prominent. Francesco Cairo’s Judith is a distinguished example which she chose as cover for her 2010 catalogue of highlights at the museum. What our Index reveals is the interest in this area of collecting, driven by ambitious, imaginative and philanthropic ideals that remain very much alive today. The ‘Circus King’, John Ringling, was one of many who contributed to North America’s deep and often surprising holdings of Lombard painting, as well as to the broader culture of giving by private citizens which is so quintessentially American.

Follow the link in the bio to explore.
——
Francesco Cairo, Judith Holding the Head of Holofernes, ca. 1633–37. John and Mable Ringling Museum of Art, Sarasota

Photograph of John Ringling at the Whitehouse, 14 May 1925. Library of Congress Prints and Photographs Division, Washington, D.C., LC-F8-35658.

06/19/2026

The surprising common denominator for The Le Nain brothers, Judith Leyster, Anthony van Dyck, Jacob van Oost, and Pierre Bedeau is the fact that they are all names once given to paintings by Michaelina Wautier. Even though she signed her pictures often and appeared in prestigious inventories like that of the Archduke Leopold Wilhelm, Michaelina was still condemned to the margins of history until 1996. Her current monographic show Royal Academy makes no secret that almost half of the 30-odd pictures on view (more or less her entire known oeuvre) have been on the market in the last three decades, typically as anonymous or ascribed to a mixed bag of talent. As enlightening as it was to draw comparisons with the likes of Michael Sweerts in her previous exhibitions, here the focus is her progression, her aptitude across a wide range of subjects, and her relationship with her painter brother Charles.

06/12/2026

Seeing eye to eye with these familiar faces brings back memories of Aso Tavitian, the man behind this formidable collection of 300 or so works, with a core collection of portraits, recently donated to the The Clark . Aso never shied away from anonymity when it would have been more common if not easier, for collectors of his calibre, to go off a checklist of names for their trophy hunt. What makes his collection so distinctive is his deep interest in stories surrounding the human experience and gift for empathy with people of all walks of life — which comes across even if one has never met him in person.

06/03/2026

Originally painted for a hospital that treated patients with ‘Saint Anthony’s Fire’, a disease that caused blistering gangrene and hallucination, the Isenheim Altarpiece continued to heal a different trauma in the 20th century. From Joris-Karl Hausman’s ‘rediscovery’ of Grünewald around 1900 to W.G. Sebald’s meditations more recently, few artists have been so tied to literature.

But despair is only one half of the story. The trippy flamboyance of the layer beneath, with the Concert of Angles and Nativity, flanked by a sultry Virgin Annunciate and the risen Christ in all his glory, can be even more moving. For my young child that was certainly the case. He wrote in his notebook: ‘the best part is the people visiting, including the children with their strawberry halos and Mary alight with happiness, which she spreads and makes everything and everyone rainbow.’

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New York, NY
10021

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+12127729100

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http://nicholashall.art/

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