19th Century The Betrothed Painting in Oil on Panel by Guglielmo Napoli

Achille Battistuzzi (Trieste 1830 - Barcelona, ??1891) Cloister Oil on canvas, 51x67 cm - with frame 74 x 89 Signed lower right "A. Battistuzzi" Achille Battistuzzi (Trieste 18...

19th century Moonlit landscape Measures: Oil on canvas, 67 x 51.5 cm With frame 75 x 59 cm Signed lower left “Luigi Giavazzi” The landscape illuminated by the nocturnal light of the moon that illuminates the sky depicts a collision between natural elements: if on the one hand we find the luxuriant hilly landscape with the rocks covered by shrubs and the grotesque tower with the lion of San Marco...

19th century Portrait of Tiziano Vecellio and Rembrandt Measures: (2) Oil on canvas, 25 x 18.5 cm Frame 46 x 37 cm The two portraits depicting the artists Tiziano Vecellio and Rembrandt are to be counted among the reproductions of those famous self-portraits made by the two painters throughout their careers. As far as Titian is concerned, the artist creates numerous self-portraits that shoot him in different ages of his life and in different poses from time to time. An example is the one kept in the Prado Museum (Tiziano Vecellio, Self-portrait, 1560, oil on canvas, 86 × 65 cm, Museo del Prado, Madrid), which portrays the now elderly master, as in the present case. The thick white beard reaches almost to the chest, depicted almost in profile, while here the bust is frontal and the face turned three-quarters; his gaze is then turned to the outside of the painting and his expression seems tired and thoughtful. The broad forehead is uncovered and cut by a tight black bonnet from which no hair comes out. A thin white collar separates the face from the rest of the body dressed in an elegant and sober black dress, just like in this portrait. The figure clearly emerges from the background devoid of objects or furnishings, so that nothing distracts our gaze from the image of the famous artist who thus wants to be remembered. Another example is the self-portrait in Berlin (Self-portrait, 1552, 96 x 75 cm, Staatliche Museen, Berlin), which depicts the elderly artist, but decorated with a rich dress and placed in a physical space. Finally, the lost self-portrait in oil on paper, cited by Vasari in his Lives in 1545, keeps a low profile, as evidenced by the rather modest dress...

Antonio Bertoli (active between 1829 - 1842) Portraits of women (2) Oil on canvas, 41.5 x 31 cm With frame 52 x 42.5 cm Signed below A. Bertoli The two portraits examined here are by the hand of the artist Antonio Bertoli, a painter active in Florence between 1829 - 1842. He trained at the Florentine Academy, where in 1832 he obtained the prize for the nude in drawing. At the academic exhibitions of the following years he exhibited mainly portraits, including a representation of Nicolò Macchiavelli executed in 1837. An eclectic artist, he experimented with different genres: for the Villa Puccini di Scornio in Pistoia, in 1838, he was commissioned to create a history picture, The death of Francesco Ferrucci (Pistoia, Civic Museum), inspired by an episode of the novel Siege of Florence by Francesco Domenico Guerrazzi. Instead, two religious paintings date back to the 1840s: Christ chasing the merchants from the Temple and a Virgin Mary, In the portraits analyzed Bertoli depicts two half-length women taken from a foreshortening and a frontal in close pose, characterized by very similar Mediterranean features. In the first painting the woman, taken from the front, looks directly at the viewer. The wavy hair is decorated with a colorful violet and is partially covered by a white veil...

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...

George Lambert (1700 - 1765) Bucolic landscape with characters Measures: Oil on canvas, 50 x 74 cm Frame 59 x 84 cm George Lambert with Richard Wilson is recognized as one of the greatest interpreters of English landscape painting. Lambert was born in Kent and studied art with Warner Hassells and John Wootton...

California oil on canvas landscape painting, "Evening Glow" - Otto Robert Gaensslen (1876-1915; American) Late 19th-early 20th century. Artist Bio: ...

19th century "La Boda / The Wedding" oil on canvas painting by Eugenio Lucas Velázquez (1824-1870). The scene represent a wedding under a bridge with eve...

Pair antique 19th century French oil on canvas painting wall panels, circa 1880.

19th century oil on wood sea landscape painting. Signed.

19th century oil on canvas signed R. Davenport. A stately red brick church in a country town setting. Oil on canvas dimensions 23 inches wide x 35 1/2 inches high. Frame ...

Henri Victor Lesur (Roubaix, France 1863-1900) A fine French 19th century oil on panel titled "Park Poetry" (Poésie dans le parc) depicting an 18th century park scene with a standing young gentleman reciting poems to a couple of ladies and a gentleman seated at the 'Jardin des Tuileries', the garden for the 'Palais des Tuileries' built by Catherine de Medicis, Paris, circa 1890. Note: The artist is also known as Henry Victor Lesur. Please click here to view another painting by Henri Victor Lesur (Roubaix, France 1863-1900). Measures: Panel height: 18 inches (45.7 cm). Panel width: 22 inches (55.9 cm). Frame height: 25 inches (63.5 cm). Frame width: 29 inches (73.7 cm). Like many of his contemporaries during the last quarter of the 19th century, Lesur's works took inspiration from scenes of French 18th century life, romance and every day enjoyment. Victor Gabriel Gilbert, Louis Marie de Schryver, Vittorio Reggianini, Maurice Leloir...