Antique 18th Century Madonna in Sorrow Oil on Canvas, Florentine School

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

This is a magnificent example of an Art Deco version of Madonna’s Immaculate Conception painted in ca 1920s Era in Vienna. Masterfully done, the painting has very dramatic bright Color scheme-typical for this period. It is definitely a great fit and a conversation piece for any kind of home, either contemporary, traditional or modern. The Painting is set in a dramatic large heavy 19th century gold gilded frame...

The beautiful and intriguing 19th century portrait of John the Baptist, oil on wood, in style of Francisco Goya, signed lower left by French painter Saint Cyr Anduze. The painting i...

This is an outstanding Italian 18th century carved wood polychromed sculpture of Virgin Mary. The Sculpture is hand painted with some remains of a gold gilt in few places and originated until lately in a private Villa in Tuscany (Italy). The colors are typical red, blue and green are spectacular on this large figure. The Virgin's hands are joined together in a prayer, while standing on a pedestal on the both sides of which are devil's horns (bottom left side horn missing ) symbolising Holly Mary defeating the Evil, protected by the Holly Ghost and an Angel. A story tells the pose of the Virgin Mary sculpture...

Beautiful 17th century Italian school " Virgin of Sorrows " Oil on canvas Measures : 50.5 x 42.5 cm very good condition

We are pleased to present this captivating religious painting of the Italian school, painted in oil on canvas in the 18th century. This wonderful painting depicting the Madonna in pr...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...

18th Century Mater Dolorosa Religious Oil Painting, Antique Spanish Colonial Religious Oil Painting, Our Lady of Sorrows Painting, Antique Religious Oil Painting...