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The Holy Family with saints Anne and Joseph. Tuscan school. Circa 1610.

Girl with fruit. Market. Year 1958. Signed Sergio Cirno Bissi (Carmignano, 1902 - Florence, 1987). The very colorful and expressive painting is created...

Portrait of John Hervey, 1st Earl of Bristol (1665-1751). Early 18th-century near-life-size portrait of a noble man richly dressed in a long wig. Circle of the German-British cour...

Pietro Torrini (Florence, 1851 -1914). The Pope's Chef. Oil on canvas. Size with frame: cm 55 x 51. Size without frame cm 31 x 26.5 Carved and gilded wooden frame. Label present (Ge...

Adriana Pincherle, (1905, Rome - 1996, Florence). A lady with a turban and green shadows in a landscape. Italian female painter, active in Rome and from 1943 in Florence. Painting signed and dated lower right: Adriana Pincherle. 1973. Oil painting on canvas. The simple composition, which represents a woman from behind, bears the influence of Matisse's avant-garde style, with bold and refined color combinations. The shape is created with color, creating an almost surreal and highly expressive effect. The painter once said: "My painting has always been figurative, not realistic. In this sense I felt very similar to the Informal movement, which, fundamentally, pushed my passion for color to the extreme." FREE SHIPPING in Italy and Europe Artist Biography: Pincherle Adriana Rome 25 December 1905 - Florence 8 January 1996 Adriana was born in Rome on 25 December 1905, into a family in which two cultures were intertwined: the Jewish one of her father, the engineer Carlo Pincherle, of Venetian origins and in love with painting, and the Catholic one of her mother, Isa di she. De Marsanich, a noble but decayed Hungarian. Adriana is the eldest child and two years older than her brother Alberto, known to the literary world under the pseudonym Alberto Moravia As Pincherle herself says about her, as a child she spent hours admiring her father who painted watercolours, and it was perhaps then that her interest in drawing and above all her particular sensitivity towards color was born. Thus, having completed her classical studies, she began to attend the "ladies" atelier of the engraver Alfredo Petrucci and the free nude courses at the Academy, where she met Mimmo Spadini and Scipione, and came into contact with Roman art. In 1931 she made her debut at the collective "First Roman exhibition of female art" at the "Galleria di Roma", while the following year, at the same gallery, she exhibited a solo show together with Corrado Cagli, already attracting the attention of critics, famous comment by Longhi, cited several times by Pincherle herself, who prefers the "sissy" between the two artists. As evidence of the results achieved by Adriana since her first works, we remember that among her works presented in 1932 there was also the famous "Standing Self-Portrait", now in the Uffizi Pincherle's growth passes through places and periods common to both the Roman School and the school of painters of the via Cavour group (Mafai, Raphaël, Scipione), with tangents and deviations, but his pictorial research arrives at original solutions independent of any label . Fundamental to the maturation of her art was her stay in Paris in 1933, in which Pincherle admired and studied closely the Fauves, Renoir and in particular Matisse. In the same year she exhibited for the first time in Florence at the Sala d'arte delle Nazioni with Milena Barilli...

Ca. 1820 Portrait of a Woman. Léon Cogniet (1794-1880, Paris), attributed. French school of 19th century. Tecnicque: oils on canvas. Dimensions: 70cm x 61cm 20th century wooden...

Ritratto del Re di Sardegna Vittorio Amedeo III di Savoia. Ambito di Giovanni Panelalbo. Ritratto di Vittorio Amedeo III di Savoia (Torino, 26 giugno 1726 – Moncalieri, 16 ottobre 1...

This piece from Berlin's studio dates back to 2003 but has only now been released. She's an a la mode young woman from the halcyon days of the Belle Epoque; confident and bewitching ...

This acrylic on canvas painting is of a Renaissance Madonna. Framed beautifully, this spiritual portrait is of a graceful moment. The cerulean blue fabric is used to represent extrav...

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

After Lorenzo Lippi (Florence, May 6, 1606 - Florence, April 15, 1665) is a Baroque painter of the Florentine school and a seventeenth-century Italian poet.

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Gillis Claeissens Portrait of a Lady, probably "Anne Joigny-de Pamele" Oil on wood, 35,5 x 28 cm Gillis Claeissens has only recently been rediscovered as an important portrait painter of the 16th century. He received his training in the studio of his father, Pieter I Claeissens. Gillis became a freemaster of the St Luke's Guild in Brussels in 1566 and worked at the court of Alexander Farnese in Brussels between 1589 and 1592. Later he was also court painter to the Archdukes Albert and Isabella. After his return to Bruges, he created portraits of high Bruges society. It was only through the Forgotten Masters exhibition in Bruges in 2018 that the work of Gillis Claeissens was rediscovered. The present painting recently turned up in a private collection and was confirmed as a typical work by Claeissens by Mrs Oosterwijk at the Museum Groeninghe in Bruges. Gillis Claeissens or Egidius Claeissens (Bruges, 1526 – Bruges, 17 December 1605) was a Flemish painter of portraits and altarpieces and a member of a prominent family of artists originating in Bruges. It has only been possible to distinguish Gillis Claeissens' work from that of his father and siblings after scholars discovered a contract with the artist for the painting of a tryptich. It was further discovered in 2015 that he artist can be identified with the Monogrammist G.E.C. These discoveries have allowed to recognise Gillis Claeissens as an important portraitist alongside Pieter Pourbus in 16th century Bruges. Portrait Paintung, Old Master, Bruges School, Bruges Painting...