Midcentury Italian school Wall Decorations

19th century "Thoronet Abbey" watercolor drawing on paper from the 18th century.

19th century "Château du Thor" watercolor drawing on paper from the 18th century.

Moutaineous Landscape with Bridge over a River Signed lower right by Jean-Baptiste Gabriel Langlace (1786-1864) Brown wash on paper.

Madonna and Child late 1600s, oil painting on canvas from northern Italy, in good condition, within walnut frame, from a private collection in Milan. The work depicts the Virgin hol...

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

This fine drawing while unsigned is an excellent example of sketch work done in sanguine as preparatory work for large finished paintings. Created in France during the days of artist...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

17th century painting J.Castano 17th century Spain

This drawing most likely French comes from the late 19th century, circa 1880. The drawing is well completed and shows the man as a living blind scholar in life and not as a classical...

The oil painting composition “The Visitation” depicts the Virgin Mary dressed in a blue robe visiting her cousin Elizabeth just after the Annunciation (the announcement by the angel ...

This exquisite oil painting, is a masterful depiction of a pastoral scene that epitomizes the serene beauty of rural life. Likely created in the 17th century, the work surely of Flem...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...