18th Century Italian Framed Silk Embroidery of a Cherub Riding a Chariot

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later fra...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

French impressionist style painting. Oil on canvas. Signed illegibly. In the original frame. Presented by Joseph Dasta Antiques

A monumental Italian landscape oil painting. "Apuan Mountains" of Italy (The Italian Alps) Shepherds in the mountains with the village of Seravezza below. Painted by Andreas Marko (1...

A monumental Italian landscape oil painting. "Apuan Mountains" of Italy (The Italian Alps) Shepherds in the mountains with the village of Seravezza below. Painted by Andreas Marko ...

Antique miniature oil painting of Perseus and Andromeda on papier mache. Extraordinary detail. Probably German. Early 19th century in a ...

This is a charming painting of a cherub with an arm extending forward, perhaps hold out a bouquet of flowers. The painting dates to the mid-18th century and is probably cut from a la...

A beautiful pair of Italian 18th century Neapolitan gouaches in 19th century mahogany frames. One depicts the volcano eruption of 1822 in Naples, the other is an affluent residential...

Beautiful Italian 18th Century portrait of a woman. Amazing details especially with the fabrics. Nicely framed and ready to hang in yo...

Charming old Italian village scene of a young girl with her cow and sheep. Oil on canvas in giltwood frame. The painting without the frame measures 19 3/4" high x 22 3/4" wide. Italy...

Pair of Large Framed 18th Century Italian Oil on Canvas Paintings of Classical Scenes

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...