Théophile Soyer Wall Decorations

Antique 1850 Mexican colonial style oil on copper religious painting.

Vintage Cuzco School oil on canvas mounted on board, Madonna nursing child. Depiction of a Colonial Style Madonna with child in her right arm. Carved gilt wood frame. Measurements in...

Oil on copper painting in elaborate parcel-gilt bronze frame surmounted by a cross. Titled: "VII: Jesus falls the second time" from the stations of the cross.

Marvellous work of religious art. This striking and sizeable painting of Christ on the cross is an impressive sight to see and for more reasons than one. The incredibly well painted...

A wonderful 17th century oil on copper painting from the Catalan region of Spain housed in a beautiful frame of painted wood. The painting depicts a saint or a religious man...

Spanish Colonial Madonna and Child Original oil on wood painting XVIII century DETAILS Original period frame. PAINTING DIMENSIONS Height: 6-3/8 inches Width: 7.5 inches Depth:...

O/8272 - Italian school about 1920 - This pair of still life oil paintings depict flowers on copper are in their original frames. They ...

16th century, by Raffaello Sanzio (Urbino, 1483 - Rome, 1520) Madonna of the Carnations Measures: Oil on canvas 38 x 30 - with frame 59 x 52.5 cm The Madonna dei Garofani made b...

Great Italian painting from the second half of the 17th century. Work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Painting with a partic...

18th Century Framed Family Crest oil painting on canvas is a wonderfully well preserved work in part because of the lavish frame that was added to ...

Raphael's Madonna della Sedia dates to 1513/14 and is kept in the Palazzo Pitti in Florence. Originally it was part of the Uffizi collection, and has then been brough to Paris during...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...