Italian 19th Century Charcoal Grisaille of a Winged Cherub

An elegant and extremely decorative Italian 17th century Baroque period Giltwood and patinated wood Putti statue. The statue is raised by a Giltwood plinth with a Coeur-de-Rai carved...

A charming and very elegant French 19th century Louis XVI st. patinated bronze, ormolu, and Rouge Griotte marble statue of a cherub signed Lemire. The statue is raised on an oval Rou...

A charming Italian 19th century white Carrara marble cherub fountain. The fountain is raised by a square base with terrain-like design below the cheru...

A charming and high-quality Italian 19th century white Carrara marble statue of a little winged cherub with his guitar. The statue is raised by an oval base with a rocky ground desig...

Jens Adolf Jerichau (1816-1883 in Neder Dråby ved Jægerspris). Antique pencil drawing on paper. Angel. Frieze after Thorvaldsen. Dated 1852. The ...

Italy, circa 1750 A mid eighteenth century drawing of a winged putto with arms outstretched, in the manner of Michelangelo. Executed in b...

This is a charming example of Grisalle type painting In shades of gray with a painted frame. This painting Depicts frolicking cherubs riding a ram. It is in overall Good condition ...

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...