Carlo Maratta Furniture

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Announcement Italian School Oil on canvas, of the 17th century Dimension: 75 x 62 cm. Good conditions.

A Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

A 17th century Spanish oil painting on canvas depicting a queen witting on a throne with a crown on her head wearing an elaborate costume in brown Gray Red and Beige. She is wearing ...

A wonderful Italian 17th century still life oil on canvas from Rome. The painting depicts a parrot with fruit at his feet standing next to a vase with a stunning array of colorful an...

17th Century Flemish Tronie Portrait Oil on Canvas. Monogrammed The painting demonstrates the Flemish style executed in 16th/17th century portraiture. This bust-length portrait depi...

Antique Lombard painting of the 17th century. Oil painting on canvas of considerable size depicting a shepherd with his dogs immersed in a countryside landscape. Painting of great pi...

A truly exceptional 17th century Cuzco School (Spanish School, Peru) Oil on Canvas of Archangel Selaphiel. This painting is from the private collection of a gentleman from Ham...

This painting comes from Polland and is over 200 years old. Oil on canvas with little restorations.: let's not forget that there were two world wars in Europe. A lovely Madonna and c...

A stunning Italian 17th century oil on canvas still life, from Rome. The painting depicts a beautiful fruit bowl and grapes in the foreground and wonderfully executed bouquet of flow...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...