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Set of four oil on copper paintings of Stations of the Cross

19th Century

Set of four antique English Christian paintings on copper English, 19th Century Frame: Height 54cm, width 42cm, depth 2.5cm Panel: Height 45cm, width 34.5cm, depth 0.5cm This fine set of four paintings depicts moments drawn from Stations of the Cross. The paintings are oil on copper, with the surface of the copper tooled...

Set of four paintings of Christ drawn from the Stations of the Cross English, 19th Century Frame: Height 54cm, width 42cm, depth 2.5cm Panel: Height 45cm, width 34.5cm, depth 0.5cm This fine set of four paintings depicts moments drawn from Stations of the Cross. The paintings are oil on copper, with the surface of the copper tooled...

Italian painting of Alphonsus Liguori in French Neo-Gothic Frame Italian and French, Late 18th and 19th Century Frame: Height 61cm, width 39cm, depth 6cm Panel: Height 28cm, width 22...

Orientalist oil painting of Bedouins in a desert by Alphons Leopold Mielich Austrian, c.1900 Canvas: Height 68cm, width 111cm Frame: Height 79cm, width 121cm, depth 4cm Painted by t...

Set of four large 18th century Italian Rococo paintings of the Four Seasons Italian, 18th Century Frames: height 98cm, width 201.5cm, depth 5cm...

‘Dream Serenade’ Orientalist oil painting by Antonio Rivas Spanish, 1886 Canvas: Height 74cm, width 116cm Frame: Height 92cm, width 124cm, depth 7cm Painted by a Spanish painter, A...

A very substantial, early 19th century, oil-on-canvas laid down on panel showing a view of the risen Christ Pantocrator flanked by the Virgin Mary and St....

By Martha Ochoa, contemporary painter of Catholic religious icons that revive Renaissance and Latin American Colonial art. This painting ...

A light sensation. 2008, cardboard, oil, 60x84 cm

Pandora games. 2010, canvas, oil, 57x77 cm

Florentine painter (19th century) - Madonna with Child on a gold background. 77 x 58 cm. Oil on polylobed panel. Condition report: Good state of conservation of the pictorial surf...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt and Wood Tavolette Book Cover Binding in the Sienese Biccherna Style Book Cover size 11 inches x 8.1 inches ( 28cm x 20.5cm ). Frame size 16 inches x 13 inches ( 40.5cm x 33cm ). Available for sale; this painted gesso and gilt “tavolette” wooden book cover in the Biccherna style is by Icilio Federico Joni. The book cover is mounted and supplied in a contemporary black Tulip Wood frame (which is shown in these photographs) which is glazed with non-reflective Tru Vue UltraVue® UV70 glass. The wooden book cover is curved and float mounted giving a wonderful 3D depth to its presentation. The gesso and painted surfaces have benefitted from professional restoration which was performed on our instruction, supervision and approval. This antique book cover is now in very good condition, commensurate with its age. The frame presentation is new and in excellent condition. Combined, it wants for nothing and is supplied ready to hang and display. The story of these panels and of their artist is fascinating, and begins in 13th century Siena: The Biccherna was the person who held the position of Magistrate of Chancellery of Finance from the 13th to the 14th century for the republic and the city of Siena, in the Tuscany region of Italy. The records of that office were very important because Siena was one of the earliest and most significant banking centres in Italy, and indeed in Europe. It became the fashion to keep banking and taxation records of the region in large books with painted leather covers. These were originally made from wood and leather. In the competition to make these ever more prestigious the bindings and panels on the front and rear of the books were painted by the major artists of the day, such as Giovanni di Paolo. Many of these mainly secular covers are displayed in the Archives of the State of Siena located in the Palazzo Piccolmini. The Gothic Revival of the 19th century occurred partly as a reaction against the progress of industrialisation in Europe generally. It was however greatly affected by the unification of Italy in the second half of the 19th century. This led to the closure and downsizing of many religious institutions, which resulted in the dispersal of thousands of works of art dating from the Middle Ages and early Renaissance. Many aristocratic and bourgeois families struggled to pay debts or simply to make ends meet and so they sold off their private collections and family heirlooms. There was then an influx of goods into the antiques market which provided a great deal of work for Italy’s restorers and craftsmen, since many of these pieces were in need of cleaning, repair and, in keeping with the interventionist tastes of the times, radical restoration, before they could be sold on, often to foreign buyers. These early Italian works became so fashionable that demand soon outstripped supply. This in turn gave rise to a new type of artist-craftsman capable of turning out from scratch increasingly convincing reproductions, imitations and out-and-out fakes. Siena naturally became the epicentre of this thriving cottage industry because of the extraordinary continuity there in traditional craft skills. This technical expertise had been handed down from generation to generation, and it was perhaps inevitable that a number of artists with real talent, the flair of commerce and a genuine love and understanding of antique Sienese art should adapt their skills to these new market conditions. Among these artists were Igino Gottardi, Alceo Dossena, Fulvio Corsini, Umberto Giunti...