Antique Italian Oil on Canvas, The Wood Carver's Apprentice, Giovanni Torriglia

As noted by the light dusting of snow on the unpaved street, this charming oil on canvas painting depicts a winter scene. The painting, which dates to circa 1890, features two stable...

Signed by the artist in the lower left corner (“Lecler”), this oil on canvas painting is entitled In the Sheepfold. A typical day in the life of a farmer dressed in blue with a gold hat, the agriculteur can be seen tending to a hay feeder. Behind the man is a flock of 15 sheep, mostly depicted with tan wool and white faces and ears, with the exception of a small all-white lamb. Some of the livestock is grazing from the feeders, while four of them (including the lamb) are gathered near a large water trough. A pair of chickens can be spotted amongst the herd, including a brown rooster...

Venetian oil on canvas, "Campo S. Giovanni & Paolo Monumento Colleoni", circa 1910. Charming square where the "Monumento Colleoni" by Vercocchio is locate...

The Vajolet Towers - Italy Artist: A. Thöny Period: Early 1900s Origin: Italy Technique and support: Oil on canvas mounted on cardboard Dimensions: Height – 33 cm Width – 27 cm Description: The artwork depicts a landscape view of the Vajolet Towers, a prominent rock formation in the Catinaccio Dolomite massif. The artist employs a vertical composition, ideal for emphasizing the upward thrust of the towers, which rise monumentally against the sky. Thöny’s pictorial language is marked by a dense and vigorous brushstroke, particularly evident in the rocky details, where the use of oil paint enhances the typical limestone hues of the Dolomite rock. Dominant tones include ochre, warm greys, and earthy greens, with accents of white and light blue suggesting reflected light or lingering snow. The atmosphere is conveyed through a balanced interplay of solid and airy elements: the towers emerge from low-lying clouds, creating a contrast between the mountain’s solidity and the sky’s dynamic quality. The latter is rendered in cool tones—shades of blue and light grey—achieved through light glazing, contrasting with the more textured and impasto treatment of the rock. The vantage point is elevated yet slightly off-center, offering a framing that enhances the landscape’s perspective and depth, with hints of blurred mountain ridges on the horizon, painted in cobalt blue and greys to evoke a sense of atmospheric distance. Signed lower right, “A. Thöny”. A. Thöny was active in Merano, in the alpine region of South Tyrol, and belonged to the romantic-naturalist school of the late 19th century, connected to the Central European tradition of alpine landscape painting...