17th Century Casket Venetian School Laquered and Gilded Wood

17th century, central Italy Frame Carved and gilded mecca wood, 67 x 92 cm Light 45 x 71 The frame in question is gilded mecca wood, carved with leaf decorations on two o...

17th century. St. Paul Polychrome and gilded wood, 130 x 66 cm The sculpture analyzed here shows a strong plastic and volumetric vigor that gives a sense of immediate natur...

Rome, 17th century Pair of angels Gilded wood, cm h 92 - Base, cm 25 x 40 The pair of putti examined is a masterpiece of the Roman Baroque period, a period of pomp and opulence w...

Venetian school, 17th century Transporting Christ to the tomb oil on canvas, 40 x 104.5 cm The exhaustion of the late Mannerist currents that had matured within the capital wor...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

A wood bowl produced in Sweden, c. 17th century.

An incredible 17th century English mortar and pestle made from turned lignum vitae, an extremely dense hardwood found in parts of the Caribbe...

Frame. Carved and gilded wood. XVII century. Frame for tondo (the interior space is circular) made of carved and gilded wood, decorated with architectural reliefs of classicist infl...

A 17th century Malines alabaster and ebonised wood coffer or casket with engraved inset panels, arches and columns. The interior has a marbled paper lini...

Beautiful and very rare wooden mortar, France, circa 1650-1750. Great eyecatcher. Wonderful weathered condition.

Large brass circular alms dish having an ornate circular rim with hand tooled decoration, and a shaped dish center with raised flower decoration to the middle. Nuremberg 16th/17th ce...