Felice Fortunato Biggi, known as Felice de 'Fiori (Parma 1650 - Verona 1700 ca.), cercle of

Flower Still Life Old Master 17th century Italy Paint Oil on canvas Quality Art

1670-1720

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) circle Floral still life Signed lower left, on the stone: P Casteels About 1730 Oil painting...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas, 89 x 117 cm in frame cm 109 x 137 With expertise and attributive study by Prof. Stefano Causa (University of Naples) '' This fruit composition with a festoon of flowers belongs to Aniello Ascione's brush and is a prominent addition to the final game of the Neapolitan still life - the most baroque and decorative one can imagine. The naturalistic work, still Caravaggesque, of the specialists of the early sixteenth century, from Luca Forte to Porpora, now seems a distant memory. The name of Ascione also comes from the comparison with the still life signed by the Civic Museum of Castello Ursini in Catania, against which the painting in question qualifies as a sixteenth version. On the other hand, it is not uncommon for easily repeatable patterns to recur in the workshops of still life painters. The melon on the right, the rush of flowers and, in the background, the profile of a column or a fountain. We could compare them to the normalized formal types used by great southern...

Francesco Noletti known as the Maltese (Malta 1611-Rome 1654) Workshop/circle of Still life with musical instruments, toys, armour, textiles and precious objects Oil on canvas (52 x...

Roman school of the early 18th century Luigi Garzi (Pistoia 1638– Rome1721) attributed Still life of fruit supported by three angels Oil on oval canvas 116 x 91 cm., Framed 140 x 119 cm. Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century. The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example. We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri. The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713) The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects. Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni. But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta. However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity. These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...

Still life of flowers and fruit with a landscape in the background and a small goldfinch in flight Circle of Abraham Brueghel (Antwerp, 1631 - Naples, 1697) Oil painting on canvas cm. 68 x 90 - with frame cm. 86 x 107 This canvas, of excellent pictorial quality and state of conservation, shows the viewer a rich selection of flowers and fruits arranged outdoors, some resting directly on the ground, others in a vase or basket. On the left of the composition there is a fascinating view of the landscape, where there is a small Italian-style village perched. The style of the work, datable to the end of the seventeenth century and distinguished by a material drafting with soft features and a bright color, facilitates its assignment to an author of the Roman school, from the circle of the great Abraham Brueghel (Antwerp 1631 - Naples 1697) , Flemish by origin but active in Italy for most of his career, first in Rome then in Naples, one of the European protagonists of the still life genre in the second half of the seventeenth century. We owe to Brueghel the spread of a new compositional model for still life, which in a short time led to transforming a genre into a decorative and baroque sense that until then had retained the strongly realistic imprint that had marked its origins. It is precisely with Brueghel, in fact, that the "exhibitions" of autumn and summer fruit are combined with colorful flowers, highlighted by a clear light and bright colors, and arranged outdoors, against the backgrounds of landscapes or gardens that mid-century had characterized Roman compositions. This is how, as we can observe from our beautiful canvas, the grapes, black and white figs, peaches, plums, apples, pears and the open pomegranate, gracefully approach the various floral types, some arranged neatly in a vase, others thrown on the ground. We know that Abraham Brueghel arrived in Rome around 1659, when he was already an established painter, after his apprenticeship in Antwerp with his father Jan Brueghel II, given his belonging to the famous dynasty of painters. It is not surprising that in a short time he became a real point of reference not only for the high-ranking Roman commission, but also for many authors who competed to collaborate with him or simply to study his works closely. An analysis of the quality, of the drafting and of the illustrative aspects themselves, in particular, allows us to be able to detect strong points of contact with the works of some authors active in Rome and gravitating around the great Flemish master, among these, Franz Werner Tamm ( Hamburg 1658 - Vienna 1724) or Cristian Berentz (Hamburg 1658 - Rome 1722), although the name that seems most interesting to us is that of the Roman Giovanni Paolo Castelli, known as Spadino (Rome, c. 1659 - 1730). The baroque exuberance but with softened colors and less vigorous shadows and the outdoor setting are typical features of his creations, which we find in the proposed canvas, borrowed from the examples of Brueghel of which he was a great follower. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant golden frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet. We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, in Viale Giuseppe Canella 18. We look forward to seeing you! Contact us for any information or to organize a visit, we will be happy to answer you. By Antichità Castelbarco...

Still life in a landscape with fruit and game Work of the late Roman Baroque of the late seventeenth / eaarly eighteenth century attributable to Giovanni Paolo Castelli, known as Spadino (Rome, 1659 - 1730) oil on canvas 62 x 76 cm., Framed 90 x 109 cm. An open-air setting, with a hilly landscape gash that opens into the distance in the central part, surrounds our beautiful canvas, which showcases a rich selection of game and fruit, arranged in the foreground near the point of view of the observer, occupying a large part of the visual field with their bright and festive colors. The style and quality of the work, like the pictorial technique of this still life, characterized by subtle luminous vibrations and a lively chroma, make it attributable to the Roman Giovanni Paolo Castelli, known as Lo Spadino (Rome, 1659 - 1730), one of the most important specialists of this pictorial genre of late Baroque Rome, which had a very successful career between the 17th and 18th centuries. Analyzing the rich and heterogeneous catalog of the Roman master, in fact, our canvas can be included among his rare works which, alongside a selection of fruit - among which stand out large melons, ripe figs, dark grapes and plums - we see a game advert, presumably as requested by a patron who loves hunting. Next to various birds, spoils of a profitable hunting trip, there is also a small green woodpecker, with the characteristic red spot on the head, and a nice rodent that terminates from behind the trunk. The painter abandons himself to a skilful and brilliant chromatic texture of the surfaces, through a pictorial material rendered with exceptional vibration in its luminous and 'tactile' body, fully respecting the taste of the full Roman Baroque. The quality appears excellent, distinguished by a skilful and brilliant chromatic texture of the surfaces, which appear almost vibrant thanks to a skilful drafting of the pictorial material. Inevitable and evident are the Flemish suggestions, which had influenced the Roman Baroque still life, in particular the work of Abraham Brueghel...

Follower of Jean-Baptiste Monnoyer (12 January 1636 – 20 February 1699) Still Life Oil on Canvas in Later Giltwood Frame Dimensions refer to size of frame. Jean-Baptiste Monnoyer ...

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychr...

‘Le Femme en Noir’ by Eugène Accard (1824-1888). This fine 19th century French full-length portrait of a young Parisienne beauty is signed by the arti...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

Painted in the style of the 17th century Dutch painter Alexander Andrienssen, this painting is of a glass vase on a wood surface filled with flowers. The artist's careful attention ...

Italian 17th Century The cat and the canary Oil on canvas 37.1/4 x 50 in. (94.6 x 127.5 cm.)

Still life painting of fruit in a basket Continental, c. 1800 Frame: Height 81cm, width 91cm, depth 7cm Canvas: Height 57cm, width 69c...

English School, circa 1827 A gentleman’s vices the newspaper dated ‘Sunday December 23 1827’ (upper left) oil on canvas 20 ¾ x 24 ½ in. (52.7 x 62.3 cm.) frame 25 ⅝ x 29 ¼ in. (65.1...

Henri Quévremont was born in Rouen he died in 1892 - 19th century. French pupil of Isabey and of Philippe Rousseau. He exhibited at the Salon in 1865 and 1867 genre subjects and stil...