Leopold Bara

Women by the roadside table by Leopold Bara

Luca Cattapane (Cremona, 1597-1620), attr. Adoration of the Shepherds Oil on canvas, 110 x 90 cm - with frame 129 x 101 cm Ascribed to the Lombard school of the late 16th century,...

Attr. to Karel Breydel, known as the Knight of Antwerp (1678 - 1733) Battle with knights and landscape in the background Oil on canvas, cm 44.5 X 36.7 Frame 52.5 x 45 cm The pain...

François-Barthélemy-Marius Abel (Marseille, 1832 - Paris, 1870) Scene with spinner Oil on canvas, 91 x 71 cm Framed, 120 x 100 cm Signed and dated "F. Barthelemy 1876" A young ...

Follower of David Teniers the Younger, 17th century St. Anthony at prayer Oil on copper, 38 x 30 cm Framed, 43 x 35 cm From the late 16th century, the complex symbolism used by ...

Giovanni Balducci known as Cosci (Florence, 1560-Naples, 1631) Madonna and Child, St. John, St. Joseph and St. Elizabeth Oil on canvas, 120 x 110 cm The Madonna and Child, well-li...

Domenico Olivero (Turin, August 1, 1679 - January 13, 1755) Game of bowls Oil on canvas, 43 x 65 cm With frame, 54.5 x 76 Expert opinion Prof. Alberto Crispo The painting shown here depicts peasants playing bowls near a farmhouse, while one of them offers sweets to a little girl. The canvas, in my opinion, can be traced back to the hand of Pietro Domenico Olivero (Turin, August 1, 1679 - January 13, 1755), as revealed by comparisons with other works by the artist, such as the Peasants' Feast already at the Gilberto Zabert Gallery in Turin, where we find an entirely similar layout, with the figures crowded around the building, placed on the left, and some household goods piled up on the right, including a copper cauldron almost identical to the one sketched in our painting. But see also other similar subjects painted by the Turin-based artist, such as the Game of Bowls already at the Cantore Gallery in Modena or the other version on the Genoese market in 2019, which, although radically different compositionally, confirm the painter's interest in playful themes and manifest the same ways in delineating characters, with synthetic and robust brushstrokes. The artist was born in Turin, in the parish of St. Thomas, on August 1, 1679 to Giovanna and Francesco, a carver by profession. He trained at the workshop of the painter and architect Melchiorre Baldassarre Bianco. He was esteemed by Victor Amadeus II of Savoy, who commissioned paintings for the Venaria Reale (1714), the Royal Palace of Turin (1716), and Rivoli Castle (1724), as well as by his ministers Pietro Mellarède and Carlo Vincenzo Ferrero di Roasio marquis of Ormea whose collections counted many of the painter's works. His success on the Turin art scene earned him election as prior of the Accademia di San Luca in Turin (1726). In 1731 he painted the eleven canvases with Stories of Franciscan Saints in the sacristy of the church of St. Thomas in Turin, while in 1734 he made the Marriage at Cana for the sanctuary of Oropa. The Savoy commissions continued with the ten canvases executed for the castle of Agliè (1737), the decoration of the third room of the New Archives in the Royal Palace of Turin (1739-41), and the thirty or so works for the hunting lodge at Stupinigi (1748-51). The painter also measured himself in designing sets for the Teatro Regio in Turin (1745-46). He made his will on November 15, 1754, and died in his hometown on January 13, 1755. Olivero's genre scenes, such as the one commented on here, reveal a focus on Flemish painting, particularly by David Teniers the Younger, Peter Mauritz Bolckman, Theodor Helmbreker, and Cornelis de Wael, as well as Roman bamboozlers such as Pieter van Laer, Michelangelo Cerquozzi, and Jan Miel...

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

Castle Doorway is an original modern artwork realized in the half of the XX Century by Giuseppe Scognamiglio (Neaples, 1901 - Neaples, 1985). Original oil on cardboard. Hand-sign...

Signature: Signed Lower Right Framed Dimensions: 32.00" x 28.00" Cover of The Saturday Evening Post Magazine, March 16, 1940

Date; 1890 Medium: Oil on Board Dimensions: 14.00" x 20.00" Signature: Signed Lower Right Harper’s Magazine May 1890

Approximate Date: 1954 Medium: Oil on Board Signature: Signed Lower Right Sight Size 21.00" x 21.00", Framed 26.00" x 26.00" Saturday Evening Post cover painting, December 18, 1954 ...

Approximate Date: 1936 Medium: Oil on Board Signature: Signed Lower Right Sight Size 28.00" x 22.00", Framed 34.00" x 28.00"