18th Century Portrait of Giulia Augusta Albani Oil on Canvas by Ceccarini

Attributed to Giacomo Ceruti (Milan, 1698-1767) Portrait of Felice Paganoni Oil on canvas, 98.5 x 73 cm With frame, 109 x 85 x 4 cm "Felice Pag...

Circle of Antonio Amorosi (Comunanza, 1660 - Rome, 1738) Portrait of young people Oil on canvas, 87 x 67 cm The painting depicting this portrait was made by an artist activ...

Antonio Bertoli (active between 1829 - 1842) Portraits of women (2) Oil on canvas, 41.5 x 31 cm With frame 52 x 42.5 cm Signed below A. Bertoli The two portraits examined here are by the hand of the artist Antonio Bertoli, a painter active in Florence between 1829 - 1842. He trained at the Florentine Academy, where in 1832 he obtained the prize for the nude in drawing. At the academic exhibitions of the following years he exhibited mainly portraits, including a representation of Nicolò Macchiavelli executed in 1837. An eclectic artist, he experimented with different genres: for the Villa Puccini di Scornio in Pistoia, in 1838, he was commissioned to create a history picture, The death of Francesco Ferrucci (Pistoia, Civic Museum), inspired by an episode of the novel Siege of Florence by Francesco Domenico Guerrazzi. Instead, two religious paintings date back to the 1840s: Christ chasing the merchants from the Temple and a Virgin Mary, In the portraits analyzed Bertoli depicts two half-length women taken from a foreshortening and a frontal in close pose, characterized by very similar Mediterranean features. In the first painting the woman, taken from the front, looks directly at the viewer. The wavy hair is decorated with a colorful violet and is partially covered by a white veil...

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...

Lombard School, 17th century Christ child with globe within garland of flowers Oil on canvas, 72 x 61 cm Framed 90, 5 x 80 The present painting, framed by a sumptuous antique fr...

Attr. to Pietro Fabris (active in Naples, 1756 - 1792) Convivial scene Oil on canvas, 63 X 75 cm The canvas in question depicts a joyful banquet scene with characters dressed in traditional clothes typical of southern Italy, similar to Pietro Fabris. Much biographical information is lacking on this painter who was active in Naples between 1756 and 1792. It is assumed that he was of English origin, since he himself in many paintings is signed, next to his name, "English painter". Also appreciated in England, Fabris in 1768 exhibited in London at the Free Society and in 1772 at the Society of Artist. His vast known artistic production must therefore be included between the date of 1756, affixed to a Neapolitan scene (London, Trafalgar Galleries: see Spinosa, 1987, p. 162), and that of 1792, execution of the Pilgrimage to the sanctuary of the Madonna dell 'Arco (antiques market, formerly Matthiesen, London, published in Spinosa, 1987, fig. 410). This production includes numerous oils on canvas, gouaches and drawings, inspired by Neapolitan views and landscapes and popular scenes, festivals and costumes of southern Italy. In the initial phase, references to Carlo Bonavia and Gabriele Ricciardelli are marked, later enriched by collusions with the scenographic landscape painting of Antonio Joli...

18th century portrait of a gentleman oil on canvas.  

A handsome oil on canvas of an Italian nobleman c 1770. His droll expression is complemented by his galant powdered wig and three-cornered hat tucked under his left shoulder. The fra...

Beautiful antique oil painting on canvas portrait of a gentleman. Excellent pictorial quality great attention to detail. English school ...

An 18th century oil on canvas with its period giltwood frame. Measures: Painting - H: 40 cm, W: 31 cm Frame - H: 58 cm, W: 49 cm, D: 5 cm.

Ancient Italian painting from the first half of the 18th century. Oil on canvas artwork depicting a female portrait, young noblewoman in sumptuous dress, of good pictorial quality. P...

A wonderfully charismatic depiction, with rich and lustrous ochre tones and in excellent restored condition. This portrait is of the 18th century German School. It's provenance Palaz...