Monumental 16th Century Painting Depicting the Scene of the Visitation of Mary

Crystal bottle BACCARAT, motif depicting a vine and bunches of grapes. ORIGIN France PERIOD 1940s MARK Baccarat France MODEL Bottle decorated with motif depicting a vine and bunc...

Pair of bottles with stopper, in blown Murano glass Origin Murano, Italy Period Early 20th century Model Pair of decorated bottles with caps Materials Murano blown...

Fireplace spark arrestors EMPIRE in cherry wood with ebonized details. PERIOD Early 19th century MATERIALS Solid cherry wood with ebonized details. Canvas screen DIMENSIONS Height...

Designer Table italian 1940s attributed to the hand by Paul BUFFA. ORIGIN Italy PERIOD 1940s DESIGNER Attributed to Paul BUFFA MATERIALS Wood and brass DIMENSIONS Height:- 76cm ...

Pair of jars ceramic and enamel Emaux de Longwy. France, Late 19th Century ORIGIN France PERIOD Late Nineteenth Century MARK Emaux de Longwy MATERIALS Ceramic and polychrome glaz...

Pair of vases glazed ceramic and hand-painted, with bronze elements. Second Half of the Nineteenth Century PERIOD Second Half of the nineteenth century MATERIALS Glazed ceramic and...

Attr. to Girolamo Siciolante known as da Sermoneta (Sermoneta, 1521 - Rome, 1575) Adoration of the Shepherds Oil on copper, 39 x 29.5 cm Frame 47 x 39 cm The refined taste, the refined poses, the definition of the anatomies, the vibrant light, allow us to identify for this painting the hand of a Mannerist painter active during the sixteenth century. In particular, the composition and stylistic research allow us to attribute the panel to Girolamo Siciolante, known as da Sermoneta (1521 - 1575). His first training took place under the guidance of Leonardo Grazia known as da Pistoia (1502 - 1548). Later he settled in Rome where he was able to see the painting of Raphael and Michelangelo from life and where he was first a pupil and then a collaborator of Perin del Vaga...

An impressive and large scale painting on board of the Mother Mary holding the infant Jesus, each displayed wearing a crown with a golden sacred heart, probably Hungarian, the inscription underneath reads ‘Zdravas Kralovno’ in Slovak, which translates to the Latin Salve Regina or Hail, Queen, these are a reference to the Latin Hymn of the same name, which is traditionally thought to have originated in 11th century Germany, and specifically to the monk Hermann of Reichenau. Unlike the Icons of Catholicism, these Eastern Orthodox Icons...

Venetian school, early 16th century Oil on panel, 49 x 56 cm. Framed (restorations) These two panel paintings, portraying John the Baptist a...

Architectural oil painting on canvas of Heydon Hall executed in a rustic naive style with contrived aging and presented in a maple frame. Signed Dan Dunton.

Old master painting, unsigned, 16th century.

Domenico Carnevale (Sassuolo, 1524 - Modena, 1579) Adoration of the Shepherds Oil on copper, 42 x 28 cm Frame 54 x 36 cm Expert opinion of Prof. Emilio Negro The painting represents the Adoration of the Shepherds, the Child in the center, next to the Madonna kneeling in prayer and an angel behind her; towards him in the foreground a woman with a child in her arms, a shepherd with a sheep on the right, a bagpiper on the left and various other male and female characters turn to him. The architectures of the background, between which a glimpse of the landscape can be glimpsed, are hidden in the upper part by the clouds, where a "celestial glory" encamps with three flying angels. The painting shows mannerist characters that can be traced back to the second half of the sixteenth century, and can be traced back to an author from the Modena area, with stylistic references to the Bolognese Samacchini (1532 - 1577) and Passerotti (1529 - 1592). More precisely, it can be attributed to Domenico Carnevale (1524-1579), one of the most important masters of the sixteenth century active in the local area. The Carnival was formed in Emilia, his homeland, where he worked for many years. However, his works also show a clear Roman influence, dictated by a long experience in the city, during which he also dedicated himself to the restoration of the Sistine Chapel. Trained in the late-mannerist environment of Modena, he is also linked to the Parmesan Corrorese and Ferrarese Dossesque tradition; Carnival also always maintains a slight archaic sentiment in his work, The main stylistic reference must be identified in a work similar in subject and iconographic setting, coming from the church of the Pio Istituto Orfanelle di San Geminiano di Modena, currently part of the Art Collection of the Province, attributed to the same influence as the Carnival. Another interesting comparison should be identified with A Presentation of Jesus in the Temple...