Pietro Colonna Art

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Evening Landscape with River and Farmhouses by August Alvén captures a moment of profound quiet in the Swedish countryside just after sunset. The glowing sky transitions from warm ap...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Artist: Henry Perronet Briggs, Attributed to, English (1793 - 1844) Title: Juliet and Her Nurse with the Page Peter from Shakespeare's Romeo and Juliet Year: circa 1820 Medium: Oil o...

A major, mid century modern work by French artist Claude Dechezelle (1928-2003). Having studied with the art deco painter and designer Jean Dupas at ...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

Francesco Albani Circle Italian Mythological Painting This important oil painting on wood depicts a subject that is very rare in the iconography of ancient mythological paintings: the birth of Erittonio. Erichthonius who succeeded Amphictyon becoming the fourth mythological king of Athens and married the naiad Praxithea who made him the father of Pandion. The extremely high quality of this very rare painting suggests that it was painted by an artist who frequented Francesco Albani's studio. The period, the mythological subject, the harmony of the colours and, above all, the sublime quality of the flesh tones all point in this direction. This artwork, never before on the market, comes from an important Italian private collection Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. ERYTHTONIOS (᾿Ερυχϑόνιος, Erychthonios) Born of Hephaestus' love for Athena, from the breast of Ghe, who was impregnated by the god; welcomed by Athena, who placed him in a basket together with one or two snakes, entrusting him to the care of Cecrops' three daughters. Against the goddess's wishes, they opened the chest, from which emerged, according to different versions of the myth, either the child wrapped in snakes or a snake, which, in some versions, killed the girls, while in others, they threw themselves from the Acropolis in fear. Erittonio, in the form of a snake, is welcomed by Athena into her temple and curls up under the goddess's shield. Alongside this myth, of Ionian origin, are others due to the doubling of the figures of E. and Erechtheus The scene of the birth appears in figurative tradition: in a Melian terracotta relief from the early 5th century, Ghe, half-emerging, holds out the baby Erittonio. to Athena, who welcomes him in the presence of Cecrops; the same scene appears on various painted vases, such as a red-figure kölix by the Painter of Kodros, from Tarquinia, in the Berlin Museums, dating from around 440 BC, where Hephaestus also appears alongside Cecrops. A modest red-figure vase from Camiro, in the British Museum, depicts the moment when the fleeing Cecropids discover the cista, from which the infant Erittonio. emerges between two snakes, greeting Athena. The moment when the chest was opened was depicted by Phidias on the xiii and xiv S metopes of the Parthenon, where Cecrops and Pandrosus appear in the first and Erisichthon and Aglaurus with the chest uncovered in the second. A kölix in the style of the Brygos Painter in Frankfurt, on the other hand, depicts the large snake E. chasing the fleeing Cecropids towards their father's palace. Luciano (De dom., 27) recalls a painting depicting the scene of the birth and the representation of the myth in pantomime on the theatre (De salt., 39). Bibliography: Engelmann, in Roscher, cc. 1303-1308, s. v. Erichthonios; P. Jacobstahl, Die Melischen Reliefs, Berlin 1931, pp. 96-98, plate 75 a; W. Züchner, in Jahrbuch, LXV-LXVI, 1950-51, p. 200 ff., figs. 34-35; J. D. Beazley, Red-fig., p. 720; G. Becatti, Problemi fidiaci, Florence 1951, p. 22. Questo Francesco Albani (Bologna, August 17, 1578 – Bologna, October 4, 1660) was an Italian painter. Albani was born in Bologna, Papal States, in 1578. His father was a silk merchant who intended his son to go into his own trade. By the age of twelve, however, he had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi...

Carl SCHLICHTING-CARLSEN (Flensburg 1842 – Hellebæk 1931) The Painter's Rest Oil on canvas H. 130 cm; W. 93 cm Signed and dated lower left – S. Carlsen (18)94 This artist of German ...

Anonymous, 18th century Inspired by a painting by Petrus Staverenus (1610/1612 – 1654-07-28/1664-07-28) from a series of Five Senses 'Taste: A laughing man...