Marco Marcola Paintings

Eternal Destiny By Hovsep Pushman (1877–1966) A 20th-century American oil painting on board, signed lower left. This evocative still life features Buddha figures, a blue pottery pitc...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

Alexandre Ubelesqui (Paris, 1649 - 1718) Allegory of the Peace of Nijmegen Oil on canvas, unsigned 22 7/8 x 28 3/8 in 58 x 72 cm Provenance: Probably the sketch presented by the a...

Oil on canvas 33 x 48 ½ inches; 840 x 1235 mm Painted c. 1793 Collections: George Romney; By descent to Elizabeth Romney (1832-1893), the artist’s granddaughter; Romney sale, Chris...

Luca GIORDANO (Naples 1634 – 1705) The Judgement of Solomon, circa 1670 Oil on canvas 38 × 48 cm - Unsigned Collection stamp on the reverse depicting a Roman intaglio. The same ma...

Nicolò Cercignani, known as “il Pomarancio,” *The Transfiguration*, a large-scale oil painting on copper plate. The work is attributed to Nicolò Cercignani, known as il Pomarancio (P...

We would like to thank Dr. Ursula Härting who, after examining the work, confirmed the autograph nature of this painting by Frans Francken the Younger in a certificate issued on December 9, 2024. In this previously unpublished painting coming from a French private collection, Frans Francken the Younger tackles one of his favorite themes: the adoration of the Magi, the wise men who come from the East to adore the infant Jesus in Bethlehem, Judea. This theme was often taken up by the artist, but this version, which can be dated around 1610, is one of the earliest interpretations. 1. Frans Francken the Younger, "a surprisingly inventive painter". Frans Francken the Younger is the best-known member of an extended artistic family that worked in Antwerp from the late sixteenth to the late seventeenth century. Born in 1581, he almost certainly studied with his father, Frans Francken the Elder (c. 1542-1616), before becoming a master in the Antwerp Saint Luke's Guild in 1605. In 1627 he became a member of the Antwerp archers' guild De Oude Handboog. Francken was an extremely productive and imaginative artist who specialized in expressively rendered small-scale religious and mythological scenes. He also painted larger altarpieces for Catholic churches. His depictions of collectors' cabinets introduced a genre of painting that influenced several artists, including Jan Brueghel the Elder...

Crucifixion, studio of the Master of the Half-Figures (Antwerp, active 1500-1550), not signed Antwerp School, mid-16th century Oil on oak panel , h. 88 cm, w. 59 cm Original frame, framed: h. 98 cm, w. 68 cm A rare example of Antwerp painting from the first half of the 16th century, our Crucifixion captivates as much by the quality of its expansive river landscape as by the delicacy of its figures and the brilliance of its palette. The richness of the colors, the balance between devotion and narrative, and the subtlety of the atmospheric effects make it a particularly representative work of the artistic refinement developed in the workshop of the Master of the Half-Figures. Through its remarkable synthesis of the world-landscape inherited from Patinir and the expressive gentleness characteristic of the Master of the Half-Figures, this composition stands out as a particularly accomplished example of the Antwerp Flemish Renaissance. Our painting of the Crucifixion is organized around the central figure of Christ nailed to a high cross erected atop Golgotha. His slender, pale body stands out against a blue-green sky that lightens towards the horizon, creating an atmospheric depth characteristic of Flemish painting of this period. The bowed head, encircled by the crown of thorns, expresses agony in a restrained pose. The white loincloth, tied at the front according to a recurring motif in the work of the Master of the Half-Figures, has one end drawn between the legs before billowing outwards in a movement lifted by the wind, subtly animating Christ's silhouette. At the foot of the cross, a skull and a few bones evoke Adam and the redemption of humanity through Christ's sacrifice. To the left stands the Virgin Mary, enveloped in a flowing blue-green mantle whose heavy folds accentuate her contemplative posture. Her pale face, framed by a white veil, expresses silent sorrow. Kneeling at the center of the composition, Mary Magdalene embraces the cross in a gesture of fervent devotion, while to the right, Saint John, clad in a richly textured red cloak, gazes up at Christ, his hands folded across his chest. Contrary to the iconography typically found in 16th-century Antwerp workshops, he appears here as a bearded, middle-aged man. This relatively rare characteristic, however, is found in several works by the Master of the Half-Figures. The Virgin's face displays the typical characteristics of the Master of Half-Figures' repertoire : a high forehead, full cheeks, a rounded chin, and a gentle expression tinged with restrained melancholy. This youthful, feminine physiognomy is found in numerous depictions of Virgins, Magdalenes, and other saints from his workshop. The figures are also distinguished by their smooth complexions, elegant proportions, and attention to the richness of the fabrics, favoring formal refinement over dramatic expressiveness. The background unfolds according to the world-landscape formula inherited from Joachim Patinir. A vast panorama, blending a fortified city, estuary, winding paths, rocky outcrops, and bluish hills, stretches behind the sacred figures. At the heart of this lively river landscape, a small port, quays, and several boats also appear, their silhouettes punctuating the waterway and testifying to the attention paid by Antwerp painters to the commercial and maritime activities that ensured the city's prosperity. The composition is structured by a succession of narrative planes that invite the viewer's eye to move through the image as a continuous story, a technique characteristic of Antwerp painting in the first half of the 16th century. Behind the main scene appears the episode of the Carrying of the Cross, depicted by a group of soldiers and horsemen, with Golgotha rising on the mountain to the left, while to the right, in a grotto carved into the rocks, unfolds the Entombment of Christ. This multifaceted narrative, integrated into the landscape, enriches the meditative dimension of the work while highlighting its kinship with the inventions of Patinir. The attribution to the workshop of the Master of the Half-Figures seems all the more plausible given that several art historians, notably Robert Koch and Walter Gibson...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

This exquisite 19th Century Old Master Oil painting depicts Zeus enshrouded and Ganymede, the most beautiful of mortals and a her...

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

Marcel Antoine Verdier (1817-1856) Portrait of a young man, 1835 signed and dated on the right oil on canvas 41.5 x 33.5 cm in a modern frame : 47 x 39 cm The young Marcel Antoine ...

Madonna and Child with Angels Attributed to Louis de Caullery (1565 -1622) for figures & Abraham Govaerts (1589 - 1626) for landscape Not signed 17th century Antwerp school, circ...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...