2 Antique 17th Century Antiphonal Vellum Sheet Music Roman Catholic Religious

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

Antique primitive watercolor and pencil portrait of a young boy in brown, holding a whip from the early part of the 19th century, circa 1830s; displayed in a birdseye maple wood fram...

Fine antique oil painting on tin. A portrait painting of an elderly woman in black with a lace fichu bonnet seated at a table with her hand...

Olleroy Blas 19th century Italian watercolor seascape painting fishing boats. Measures: 42" An exquisite watercolor by Olleroy Blas, signed lower right. Depicts a fishing boat out...

Vintage 1999 large scale oil on canvas painting of a pair of pears, done with intense chiaroscuro. Chiaroscuro in art, is the use of strong contrasts between light and dark, usually ...

A unique modern portrait painting on burlap of Ludwig von Beethoven, with a white wash finish / overlay. Signed and dated by artist on verso. Measures: 32.5” x 1.875” x 40.5” / Sa...

Set of two antique antiphonal music sheets (Spanish). Published circa 1700.

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...

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 th...

Late 17th century oil on joined wood panel interpretation of The Vision of Saint Hubertus by Albrecht Durer. It was painted in 1501 and became a very po...

17th century Spanish Colonial Peruvian painting. Cusco school, oil on wooden panel depicting “Saint George and the Dragon” with intricate 19th Century car...