Molla Wall Decorations

18th century Spanish school still life flowers oil on canvas painting. Dimensions with frame: 44.5 x 54 x .2.5.

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...

A fine and large French 19th century old master school oil on canvas titled "Leda and The Swan" within a giltwood frame. Leda and the swan is a motif from Greek mythology, in which Z...

An oil on canvas portrait of a young French courtier, circa 1690. This evocative antique French-school picture has been attributed to the portrait painter Jean-François de Troy (1679-1752). De Troy was famous as a portrait painter of fashionable society women. This is a very attractive late-17th century painting surviving in its original frame and stretcher. The canvas appears to be untouched. References: 'Jean François de Troy, The Alarm, or the Gouvernante Fidèle', at the Victoria and Albert Museum, London. 'Jean François de Troy, Paris 1679 - Rome 1752', at the Thyssen-Bornemisza Museum. Laurie G. Winters, Troy, de, Grove Art Online, Oxford Art Online, Oxford University Press, 6 May 2016. Everett Fahy & Jayne Wrightsman...

We are pleased to present this oil on canvas from the 17th-century Italian school. A splendid religious painting depicting the biblical scene of the Annunciation, a central theme of ...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

A anonymous 17th-century Continental School oil on canvas depicting Saint Jerome in penitence. The saint is portrayed kneeling in prayer before a crucifix, dressed in the traditional...

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...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

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...

American painting, Hudson river school, Oil on canvas.

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding the Child portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the king of Costa, who had refused to marry the emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, had sent to call the wisest men and fifty philosophers and orators who presented themselves and tried to divert her from faith in Christ. Catherine, however, played so well that she was able to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, however, who had criticized Maxentius for the new persecutions against the Christians, was sentenced to prison without food. Abandoned for twelve days, she was fed by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel become her attribute iconographic; but by divine intervention this broke and the young was saved. Finally, she was beheaded and milk flowed from her neck. Catherine’s princely status is witnessed here by her sumptuous dress. The iconography of the mystical marriage was born in the fifteenth century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to look like a ring, and refers to a vision that will always remain present in the mind and heart of the saint. In Heaven she appeared to her, among the Angels and Saints, Christ the Child, in the arms of the Virgin. He took a precious ring that the Virgin Mary handed to her and put it in her finger, saying "I, your Creator and Saviour, take you in marriage; confident that you will keep you pure until you celebrate your eternal wedding with me, in Paradise" When Catherine was laughing, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ. In this extraordinary episode we can see the heart of Catherine’s religious sense, and of all her spirituality. For her, Christ is like the bridegroom, with whom there is a relationship of intimacy, communion and fidelity; he is the beloved, whom she loves above all...