Aliprandi Antichità di Cristina Aliprandi Figurative Paintings

A very good antique oil on panel costume genre painting by the celebrated Northern Italian artist, Francesco Vinea (1845-1902), the painting dated signed and dated 1873. Vinea studied at The Academy of Fine Arts in Florence and then worked as a designer of illustrated periodicals, he returned to Florence and studied under professor Enrico Pollestrini. Vinea unapologetically produced incredibly high quality humorous and whimsical scenes that were always elegant and depicted figures in period costume situated in lavishly ornamented interiors. Vinea became quite famous and wealthy in his lifetime and his work was particularly sought after in France, England and The United States. The 19th Century American art collector James Jackson...

This remarkable late 16th-century fragment depicts Saint Madrona, the Patron Saint of Barcelona, Spain, holding a 15th-century carrack and the martyr’s palm frond. She stands before ...

This remarkable late 16th-century fragment depicts Saint Magí, the patron saint of Tarragona, and Saint Mauro, a Benedictine monk. Produced in around 1580, on the cusp of the Anglo-S...

"A Romantic Interlude" by Alberto Cecchini is a wonderful work of art from the 19th century that embodies the elegance and emotional intensity of the Romantic era in Italy. The paint...

Italian school circa 1560, circle of Bernardino Campi Portrait of a woman with a book Oil on panel H. 78 cm ; L. 57cm

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

Untitled Pair of Portraits, c. late 19th century Oil on canvas 20 x 16 in. Framed: 22 x 19 1/4 x 1 in. One painting initialed lower right Both inscribed verso on stretcher bar

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

CAVALRY BATTLE - Oil on oval canvas cm.30x50 by Antonio Savisio, Italy 2005 Maestro Antonio Savisio drew inspiration from the masterpieces of the great Neapolitan Maestro Salvator Ro...

Ganymede was a Trojan prince in Greek mythology, known for his compelling beauty. Because of his alluring good looks, Ganymede was abducted by Zeus to serve as cup-bearer in Olympus....

Signed lower left and dated: 15/IX, 1895, Y. Bershadsky - Yuliy (Ioil-Ruvin) Rafailovich Bershadsky (1869 - 1956), Russian - USSR painter and teacher, professor, honored artist of th...

The painting captures a wonderfully amusing family moment set in the 16th century. In the center of the painting we see the father, exhausted by worries and dozing in his chair in fr...