Fabric Paintings

A framed Indian ceremonial Hindu deity from the mid 20th century, hand-painted on canvas. Created in India during the midcentury period, this scene, hand-p...

Vintage French "Winter" landscape painting. Beautiful French traditional style frame.

Grand scale mid-18th Century Italian classical oil on canvas landscape painting. In a substantial period 18th Century Flemish hand carved ripple frame. The painting has been professi...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

RAOUF HANNA - Mid Century Expressionist style landscape oil painting on canvas covered panel - signed lower right - untitled - framed - vintage Simpson...

A gorgeous Grand Tour style framed oil painting of an Italian Capriccio landscape with ruins Italy, Mid-20th Century Oil on canvas, gilt frame Measures: 9.5"W x 1"D x 9.5"H. Exce...

Abstract Mid-century Farmhouse Oil Painting with Impasto Techniques Offered for sale is a vibrant stylized mid-century abstract oil painting on canvas depicting a farmhouse. The c...

A pair of oil on canvas hunt paintings attributed to Henry Alken (1785-1851) entitled "The Find" and "The Death", in original giltwood frames. Provenance: Provenance: The Hon. Mr...

A figurative painting of two Vietnamese woman admiring a bouquet of flowers. Retaining original frame. Artist signature lower right is undecipherable. A charming painting reflecting ...

Dutch School, 19th Century An Autumn Landscape oil on panel signed lower left: Thos. Fenton unframed: 21 x 25 cm.; 8 x 9.5 in. framed: 31 x 25 cm.; 12 x 14 in.  

"Harry Lathrop Driven by Dan Mace" by John McAulliffe This large mid-19th century, oil on canvas painting depicts a horse, son of Blood's Black Hawk, driven by Dan Mace. Mace was on...

Antique large German painting with an Italian landscape - Many European painters came to Italy to paint its beautiful natural landscape, full of sun. This painter was Franz Krause, born in Germany 31th March 1823 , died in Leitmeritz on 18th March 1878. If you want, You can use the large frame for a MIRROR, leaving the picture free...

Jan Frans van Bloemen called Orizzonte (Antwerp 1662-Rome 1749). A Late 17th early 18th century Italian landscape with figures of the Roman Campagna. ...

ALFRED S. WALL United States, 1825-1896 Nature Morte: Fallen Doves (1865) Oil on canvas signed and dated lower left "Alfred Wall 1865" ref. 412APH13E 26 1/2" H x 32 1/2" W x 2 1/2" D [frame] 20 1/8" H x 26" W [canvas] Essay This finely executed still life painting captures a group of three doves laid upon a forest floor, rendered with meticulous attention to texture and natural detail. The composition follows the tradition of nature morte, a genre that captures the stillness of life through carefully arranged subjects. The artist employs a rich, earthy palette, contrasting the softness of the birds’ feathers with the dense foliage and scattered undergrowth, the colors in the foliage and fallen leaves suggesting an early fall setting for the scene. An almost ecclesiastical light falls on the doves, lighting them and showcasing the realism, drawing attention to the delicate gradations of color in the plumage and the subtle sheen of the wings. While the subject matter suggests themes of the hunt or the passage of life, the restrained execution avoids overt dramatization. Instead, the scene invites quiet contemplation, emphasizing form, texture, and atmosphere. Works of this nature were historically popular in European and American art, particularly in the 19th century, serving both as studies in naturalism and as reflections on mortality and transience. It is housed in what is almost certainly its first frame, a finely worked gilded composition that complements the painting beautifully with still-life emblems in the corners. Provenance: Private Collection, Senoia, Georgia Condition: Original stretchers in good condition, these only allowing for four keys instead of eight; linen is taut and unlined, in good condition. Ground layer is overall stable with fine age related craquelure throughout. Several losses under the frame rabbet that have associated inpainting. Areas of old overpaint on the dove chests removed during the conservation process. Our conservator removed the old varnish, inpainted the minor losses and applied a traditional Dammar varnish. Frame is likely the original frame and presents with minor losses, chips and overall discoloration to the gilding. A very fine presentation, ready to place. Biography Alfred S. Wall (1825–1896) was a central figure in the development of Pittsburgh’s artistic community during the 19th century. Born in Mount Pleasant, Pennsylvania, he was the son of English immigrants William and Lucy Wall. His father, a sculptor specializing in tombstones, instilled in him an appreciation for the arts, a legacy shared with his older brother, William Coventry Wall...

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

Exceptional quality oil on canvas portrait painting of a bewigged Dutch statesman in armour having architectural background of ancestral seat with heraldic crest at lower left. Later...

Painting by Jordi Casacuberta Codinach, circa 1940. Oil on canvas. Handsigned. In original condition, with some visible signs of previous use and age, preserving a beautiful patina...

A wonderful and very striking large vintage watercolour painting by Bettina – titled: Dolls and Toys – 1973. This is beautifully executed and has a whimsical design, depicting colou...

We call him “Dr. House”, because he feels so calm, experienced and confident. This beautifully painted oil portrait dates from about 1780 and the antique frame fits this stately appe...

Title: Nature Morte A still life composition featuring vibrant flowers in a vase alongside a potted rubber plant. Oil on canvas, signed A.H. (1911-12). Exhibited at Ordrupgaard Museum, Denmark, in the "Astrid Holm...

1960s Mountain Landscape Oil Painting - Tranquil Alpine Scenery Step into the serene beauty of the mountains with this exquisite oil painting from the 1960s. Capturing the tranquility and majesty of alpine scenery, this artwork reflects the timeless allure of nature. The artist's use of soft brushstrokes and a muted color palette creates a calming atmosphere, making this painting a perfect addition to any space that seeks to evoke peace and natural beauty. Key Features: Era: 1960s Medium: Oil on canvas Style: Realism, with a focus on natural landscapes Subject: A peaceful mountain landscape...

Vividly colorful and classically composed, yet loosely painted, this original still life oil on canvas painting of flowers in a vase on a table is a fine example of the work of famous, listed, deceased American Impressionist painter, Louis Ritman...

Pär Ivar Jogstad (1906-1980), Sweden. Oil on canvas. Abstract composition. Dated 1969. The canvas measures: 79 x 79 cm. The frame measures: 5.5 cm. In excellent condition. Signed...

Bamboo in moonlight Gamo Rakan (1784-1866) Hanging scroll, ink on silk. Dimensions: Scroll: 201 cm x 58 cm Image: 137 cm x 45 cm In this early 19th century work by Gamo Rakan a light ink wash applied to the silk background silhouettes the moon and suggests the atmosphere of early evening. Even though it is a literati subject, Rakan’s bamboo is quite realistic with a strong decorative style. The painting finds its inspiration from Chinese Ming dynasty painters who often used a single-tone, jet black stroke to emphasize the calligraphic nature of bamboo. In a different era, decorative would have been seen as somewhat unrefined. But increasingly in the Edo period, it was the hallmark of high style. The Japanese people, in particular the rising merchant class, had gradually become apathetic toward the traditional Sesshu and Kano schools of painting. Chinese professional and amateur painters living in the port of Nagasaki during the 18th century had a profound effect on Japanese painting and the freshness of their style and its decorative appeal contributed greatly to its popularity. Gamo Rakan’s teacher, Tani Buncho...

Oil on Canvas by Maria Polo Signed MARIA POLO and dated 1968 Maria Polo (Venice, Italy, 1937 – Rio de Janeiro, Brazil, 1983). Painter, designer, engraver and vitralista. Studied at...

An exceptional and outstanding 17th century Oil On Canvas Painting from Madrid, Spain. Wonderfully executed in the style of Velazquez, depicting a M...

Niels Bäcklin (1913-1989), Swedish artist. Oil on canvas. Modernist landscape with sunset. 1960s-1970s. The canvas measures: 42 x 32 cm. The frame measures: 2.5 cm. Signed. In ve...

Pair of large scale acrylic on canvas paintings by TW Stuart, 1987, Blue Absttact Dyptich.

Beautiful oil on canvas painting titled "Quo Vadis Opus" by Austrian artist Kurt Larisch (1913-2009) About the artist: Kurt Larisch was born in Vienna, Austria in 1913. He was firs...

Country HouseAn exceptional mid-18th-century oil painting from the Studio of Pompeo Batoni (1708–1787), presenting a revered composition: The Madonna of the Annunciation. This rema...

Large oil on canvas after Pieter Casteels III [Flemish 1684-1749. The painting depicts a tale from Aesops Fables, "Jackdaw and Peacock Feathers". T...

1976 Oil on canvas paint by artist, Roy Carruthers (1938) from South Africa. This painting is titled “Woman Dressing”. It is signed and dated by the artist. It is extremely big and very detailed. One of the best painting...

Magnus Jørgensen (1683-1738), Denmark. Painting: "Two Gentlemen at a Well-Laid Table." Signed: Magnus Jørgens(en) Pinxit et invenit Ao 1724. Oil on canvas, mounted in later black fr...

With nice gilt wood frame with beaded and egg and dart frame. Charming family portrait with husband and wife and children. Most likely of James Bate...

Stunning Irish oil on canvas framed painting painted during the last quarter of the 20th century, by Ted Jones (Irish 1952-2017). This wonderful depicts a ...

A somber realism permeates this late 18th-century still-life oil painting, reminiscent of Heinrich Lihl's precise style from around 1780. Two deceased birds, their feathers meticulou...

A Chinese Qing Dynasty period painting from the 19th century of an ancestor group portrait in custom frame. Created in China during the Qing Dynasty, this vertical painting features ...

Pasquale Picazio Canvas Nude of Young Girl 1970's Measures: Height 80 cm Width 40 cm Technique oil on canvas In good conservative condition, present signs of time due to use and ...

Lovely still of roses by Anna Hornby Vintage Still Life of Roses by Anna Hornby'Christmas Roses' by Anna Hornby is an exquisite portrayal of delicate hellebores, known as Christmas ...

Titled 'Tangent' - Buffalo artist James Koenig paintings reflected many phases of American painting Styles including scenes from The WPA period, abstrac...

An abstract painting by Venezuelan artist Alejandro Rios. Rios is known for creating largely abstract landscapes that disappear through the texture a...

Scruffy dog oil painting. Signed and dated 1971.

19th Century portrait of a woman painted in oil on canvas with the frame dated in 1940 Measurements with frame: 69 x 69 x 3 cm.

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

A beautiful oil on canvas painting by Guido Agostini, Italian, 1865-1898, late 19th century in date. The sensitively painted landscape shows a girl on a country road with the cit...

This is an impressive oversized floral still life by Sarkis Sarkisian featuring tulips and Lillies in a vase. The mauve background is subtle enough to compliment the flowers and vas...

A fine and large French 19th century old master school oil on canvas titled "Leda and The Swan" within a giltwood frame. Leda and the swan is a motif from Greek mythology, in which Z...

"Alle", - Depicting a large treelined street with couple strolling down the sidewalk. - signed lower right - Unframed

An original work by Domingo Zapata title "Panda Loves You" is a one of a kind creation by the artist using Acrylics and graffiti on canvas. This painting was created in 2015 and is a...

A wonderful still-life by French painter Rodolpe Fogé (1890-1976). He lived and worked in the Alsace region in north-eastern France and is mostly known for his local landscape painti...

PRESENTING a FANTASTIC and LARGE Oil on Canvas Painting of ‘Venus & Cupid’ After the original masterpiece by renowned artist, Hans Zatzka. This is a mid to late 20th Century, circa ...

This painting is an oil on canvas. It represents small boats near a nice bridge on a river in a French town. This painting is signed. This is a work, circa 1960.

Beautifully rendered interior of a bathroom/ dressingroom in a striking color palette of orange and yellow. Signed Rogers lower left.

A beautiful oil on canvas rendering of a stag hunt, presented in a fluted giltwood frame with a bundled husk border and large, parted leaves in the corners. The painting is signed in the lower right corner by the artist, “H. de Forges”, a member of the Barbizon French school of the late 1800s, who specialized in animal hunt scenes. The vibrancy of de Forges’ painting has not diminished over time; the colors seem to pop right off the canvas. A blue sky with some low-lying white clouds hangs above trees mainly bereft of leaves, indicating it is late autumn. Slender grass, ranging from green to brown, surrounds a watering hole in the middle of a clearing, with a single stag near the water’s edge. Eight white hunting dogs with black and tan markings surround the deer on one side of the pond. Behind the pack is a brown horse ridden by a huntsman dressed in red and black, preparing to sound the hunting horn. Two more riders in red, black, and white, also on brown horses, are emerging from a small hill behind the deer. Hunting, always a very important pastime in France, became one of the more popular genres in 19th century art, along with with quality pastoral and landscape paintings. Realism was a defining feature of the Barbizon School, as artists were attracted to spending more time living and painting in the natural world. Our hunt scene depicts the surrounding of prey, or pre-hunt revelry. The beautifully colored oil on canvas stag hunt painting...

The Vintage Regency 19th Century Portrait of a Gentleman is an exquisite piece of art that captures the elegance and refinement of the Regency era. This finely detailed portrait feat...

Early Kano School painting of pine trees overlooking two beautifully painted cranes and floral design in a natural setting by water’s edge. Mineral pig...

A quality pair of Grisaille Oil on Canvas Painting. Signed by Eva Hollyer (1865-1948) British. One painting features Elegant Ladies in a Garden. Th...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...