Tuscan Frame, Early 17th Century

This original 18th century silver gilded over brass frame is elaborately embossed and chiseled. The central oval is surrounded by rocaille and volute motifs typical of the Baroque pe...

Large Flemish verdure tapestry from the 17th century, featuring a tranquil scene in a woodland setting, with stately trees at right and left in the foreground, with an exotic bird resting in the grass beneath their shadow, and further trees in some grassy knolls in the middle distance and background. Enclosed within a scrolling foliate border. Wool with silk inlay. Complete with backing. Tapestries make integral part of the Flemish cultural heritage. Most of the tapestries have religious, mythological and historical subjects as well as hunting and harvest scenes. They are known for their high quality and extended use of colors. The oldest ones were made in the 13th century. The most important production centers were Doornik and Arras. These two centers got a lot of assignments of the Dukes of Burgundy. In the 14th century tapestries...

Delightful pair of concave enameled tin plates with hunting scenes in frames of hand-wrought iron embossed with masks, mythological figures and fruit...

These 2 engravings from Jacques Callot are part of a series of 21 prints called "the Gobbis". Numbered 11 and 19, there were published with the 19 others between 1620 and 1622. The l...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

This beautiful engraving is entitled "Country Market" and was made by AF. Bargas (1659-17...), a painter and engraver of the late 17th and early 18th century. This print depicts a ...