Ancient painting, oil on canvas, Madonna with Child, 18th century

Ancient icon of fine workmanship, dating back to the 19th century, Russian. The icon represents the Madonna in the center with the Child, covered with silver riza. In good condition,...

Oil painting on canvas, marine, 20th century A scene of dry boats with figures, in the background sailing boats surrounded by the lights of the sunset Good condition as from picture ...

Refined painting, very bright and rich in details, it represents 3 figures in an interior scene, the painting stands out for the use of colors and the brilliant finish. Signed top ri...

Modern oil painting on canvas, dance scene, 20th century, impressionist Painting made in oil on canvas, very material, from the Hispanic area, second hal...

Oil painting on canvas, late 19th century, flowers Oil painting on canvas, depicting a floral composition. Contemporary frame, from the late 1800s. Good condition as from picture Dim...

Oil painting on canvas, Landscape, mountain lake, made and signed by Adolf Kaufmann, 19th century Bright painting made with skill, signed by Adolf Kaufmann (Austria 1848 - 1916), depicts a lake landscape surrounded by mountains. Adolf Kaufmann (15 May 1848, in Troppau – 25 November 1916, in Vienna) was an Austrian landscape and marine artist. He was initially self-taught, but completed his studies with the animal painter, Émile van Marcke...

Painting, oil on canvas depicting the Madonna with child from the 18th century, painting of excellent pictorial quality. Nice Size painting and very good proportions. Pleasantly brig...

Antique Italian painting from the 18th century. Oval work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Contemporary carved and gilded woo...

Giovanni Giacomo Figari (Desenzano del Garda, 1739-1809) Madonna and Child adored by San Francesco di Paola and San Gregorio Magno (About 1765) (2) Oil on panel, 41 x 22.5 - with frame 46.7 x 27.5 x 3.2 cm Expertise Prof. Sava The softly collected and intimate dimension suggested by the present pair of paintings underlines, together with the saints appearing in adoration, the totally private dimension of the order. The saints chosen at the feet of the Madonna and Child are in fact Francesco di Paola and Gregorio Magno, immediately recognizable by the wise features, by the Franciscan habit and by the crosier supported by a putto, the other by the triple crown placed on the ground as a sign of respect. Most likely made as ex votos, as a tribute to the patrons or as preparatory models for two altarpieces, if the saints were to reflect their names, the paintings are offered for specular and meditated composition. An inflamed colorism lights up the veils of the Madonna, enhancing their prominent position with respect to the saint in her presence, and warming the remaining part of the composition with sweet intimacy. The compositional balance, the quality of the drawing and the plastic consistency of the drapery allow the painter's hand to be brought closer to the sphere of Giambettino Cignaroli (1706-1770), a Venetian painter, working in different cities in northern Italy. He was influenced by Ludovico Dorigny, Antonio Balestra...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

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...

Beautiful oil painting on canvas dating back to the Piedmontese school of the early 18th century. The work depicts the Madonna with the Baby Jesus in her arms and next to them is the...