European Paintings

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534...

KPM style porcelain plaque of Orientalist Bazaar scene German, 20th century Measures: Frame: Height 78cm, width 53cm, depth 5cm Plaque: Height 60cm, width 35cm, depth 0.5cm This fin...

French School, 18th century. Oil on Canvas painting set in an antique giltwood frame. Unsigned. An 18th century portrait painting of a young Philip V or at this time Duke of Anjou....

Beautiful and vivid painting, oil paint on panel. The painting shows a picturesque harbor on the French Mediterranean. This work is by the Flemish painter Charles-Louis Bisschops (Liège, April 25, 1894 - Rossignol, 1975). The painting has a somewhat impressionistic touch and a beautiful use of color. The blue color of the water contrasts nicely with the shady buildings. The painting is framed in a classic wooden gilded frame. On the back of the painting is an old label stating that the painting was painted in the French port of Ferrier (near Marseille on the Mediterranean). The painting is clearly signed and dated 1937. Charles Bisschops has his own Wikipedia page, information about this: Charles Bisschops was a Belgian painter, graphic artist and draftsman. He was a student at the Academy of Brussels from 1912 to 1919. The main professors were Jean Delville and Constant Montald.

' The Phasianus Colchicus, look there it is! A little to the left from that tree, straight underneath the flower branch...' This wonderful vista is a lovely look at nature due to th...

Watercolor & ink depicting a coastal scene with colorful sailboats in the marina. The scene with pastel structures over-looking the blue tonal waters and dark blue rolling hills in t...

Neapolitan School - Distruzione Della Torre del Greco Nel 1794 (Distruction of Torre del Greco, 1794 [Mount Vesuvius Erupting]) gouache on paper Titl...

Oil on canvas. Born in 1959 in Verviers (Belgium), from 1977 to 1980 Michel played electric guitar in various punk and then new wave bands. Later, as a self-taught painter from 1988 to 1990, his contact with the Flemish painter Thé van Bergen...

captivating oil on canvas portrait of a monk, likely created in the 18th century by an artist of the Spanish school. The sitter is depicted with solemn intensity, his expressive fea...

Johan Frederik Cornelis Scherrewitz (Amsterdam 1868-1951 Hilversum) Homebound in the polder Signed ‘Scherrewitz’ (lower right) Oil on canvas, 70x100 cm (incl. frame: 90x120 cm) Width frame: 7 cm Weight: 5 kg Condition: very good condition, only some minor surface dirt Johan Frederik Cornelis Scherrewitz (Amsterdam 1868-1951 Hilversum) Born in Amsterdam, Scherrewitz was initially destined to become a stockbroker, just like his father. Yet this talented artist could not resist his urge to paint and would steer himself into an artistic career. In his spare time, Scherrewitz received drawing lessons from renowned painter Geo Poggenbeek and at the age of 25-years-old he fully commits to his artistic dream. Scherrewitz was heavily influenced by the artists of the famous Hague School, the leading painting style of his youth. Painters such as Jozef Israëls, Anton Mauve...

Early 19th Century Portrait of the Marsh Family Twins, by Thomas Arrowsmith (English: 1772 - 1834), circa 1830, an oil on canvas group portrait of the celebrated five children of the Marsh family of Boston. The two pair of twin girls and their younger brother became well known on both sides of the Atlantic in their day, because sets of twins were pretty rare, and these children were so ridiculously cute. Apparently the greatest artists of their day were all clamoring to paint their portraits. The Magazine Antiques ran an article on the children and their popularity about 20 years ago. The short hair cuts sported by the girls are quite striking, and are actually not as odd and rare as many people assume. While longer hair enhanced with ringlets and other curls were very much the popular fashion, a good number of parents did boldly break away with these daring short bobs. Perhaps they were the "bohemians" of their day. The style grew in popularity, even among adults, following the French Revolution: dubbed "Guillotine Haircuts" they declared sympathy for the deposed royals. In this particular instance, I believe the short hair was chosen because it focused more attention on the beautiful faces, and lessened the variations in height and hair color to make them all look even more alike. A delightful painting, slightly Romantic School, a touch Folk Art, in excellent condition and signed on the reverse. Thomas Arrowsmith was a highly regarded artist who worked almost entirely in miniature. Such artists who created such amazingly detailed tiny portraits on ivory...

18th Century Religious Painting of a Nun Painted in Oil on Canvas Framed

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

Raimundo De Madrazo y Garreta (Spanish School, 1841-1920) an exceptional and palatial oil on canvas "Portrait of Isabelle McCreery” depicting an elegant woman gracefully exiting a litter (Sedan Chair), situated within a lovely fairytale setting of a fantastical vista dominated by verdant and blue-green hues, a pair of swans and a lily pad frame the scene in the foreground, within it's original impressive and ornate French 19th Century Rococo Style gildwood carved and gesso frame. Signed and dated ‘R. Madrazo, 1880' (lower left). At the bottom center of the impressive frame there is a gilded, wooden cartouch bearing in italicized script “Portrait of Isabelle McCreery.” This is original to the frame. Sometime after the death of the artist, possibly at the time the painting was given to the Fine Arts Museums of San Francisco, the painter’s name was added in block letters. Provenance: The Fine Arts Museums of San Francisco (Donated by Mrs. Richard McCreery in 1950). M.H. de Young Memorial Fine Arts Museum, Golden Gate Park, San Francisco. Christie's New York, 31 December 1969, Sale Property of the Fine Arts Museums of San Francisco, Sold for the Benefit of Museum Acquisitions Funds. Lot 80A for $20,700 Canvas Height: 104 ¾ inches (266.1 cm). Canvas Width: 68 ½ inches (174 cm). Frame Height: 132 inches (335.3 cm). Frame Width: 87 ½ inches (222.3 cm). The work of Raimundo de Madrazo, an artist who lived in Paris the greater part of his life, is among the most representative and influential of the ‘school’ of Spanish painters resident in Paris during the nineteenth century.” (Carlos González and Montse Martí, Spanish Painters in Paris 1850-1900, London, 1989, p. 53). The wonderful imagination and artistic genius of Madrazo y Garreta established his fine reputation, and created an international demand for his exquisite portraiture. This particular work features an elegant woman who gracefully exits a litter, situated within a lovely fairytale setting of a fantastical vista dominated by verdant and blue-green hues. Isabelle McCreery was a member of the noted Gold Rush pioneer McCreery family of Irish background who settled in San Francisco in the mid nineteenth century. She later lived in Burlingame, an early San Francisco...

A sun-drenched provençal landscape is brought vividly to life in this 20th century post- impressionist style oil-on-canvas. Undulating hills in the distance provide an evocative back...

Swedish naive oil painting with the original frame, from the 2nd part of the 19th Century. This folk art work on canvas represents kids and a dog playing by a courtyard, opening the...

Monumental Ceramic Wall Panel After Gustav Klimt’s The Kiss, with 24k Gold Detailing – Signed by P. Coquignet Stunning ceramic wall composition ...

Capture the Bustle of Paris: Jean Ribout's Oil on Canvas Painting This vibrant oil painting by Jean Ribout immerses you in the heart of Paris, France capturing the bustling energy a...

Charles Chaplin (French, 1825-1891) Portrait de la famille Gros, placed in an ornate hand carved gilt wood frame. signed and dated 'Ch. Chaplin. 1860' (lower left) oil on canvas Dim...

Jean Marie Daneis (French 1944-) Raisins Blanc et Prunes, (White Grapes and Plums) Oil on canvas, Signed lower left The still life painting by Jean Marie Daneis depicts a bunch of...

A mid 17th century large scale oil on canvas depicting a Leopardess, a Lioness and a Wolf toying with a Dead Hare in an Arcadian landscape; in the style of the Dutch Golden Age ‘Anim...

This is an antique oil on canvas painting by Danish painter Lars Johansen (1877-1954). The motive is a well kept small Danish holding with a bedside area, an arrangement at the firep...

An authentic and unique kinetic painting thin and subtle gouache on wood panel, Abstract Geometric, Op-Art, Kinetic composition of orange and blue shades through thin complex archite...

Oil on canvas depicting Baulien, a seaside community in Nice France on the Riviera. The painting with rustic structures and barren trees in the foreground, a pier jutting out onto th...

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

A delightful oil on canvas, “At the Fountain”, by the Provençal artist Bernard Langrune (1889 – 1961). Known for his paintings of regional scenes, from pastoral views to city snapshots, Langrune has beautifully captured this atmospheric moment in a quiet and shadowy corner of a French town. You can almost hear the splashing...

Modern Fausto Pirandello Signed Abstract Watercolor Important work by one of the greatest artists of the Italian artistic avant-garde Fausto Pirandello It depicts one of his iconic ...

A lovely and most elegant Italian 19th century Giltwood and Oil on canvas painting, circa 1840. This sensational and high quality painting depicts an European landscape with a waterf...

Y. Gianni (Italian) The Gulf of Naples, 19th Century. A beautiful signed "Y. Gianni" gouche on paper, framed and matted with description & name on matti...

Attributed to Charles Edward Hallé (British, 1846-1914) "Mother and Child" oil on canvas. The Victorian era artwork depicting a young mother holding her joyful infant child, within a carved gildwood and gesso frame. (Relined). Signed (l/r): C.E. Hallé, circa 1870. Charles Edward Hallé (British, 1846-1914) Born in Paris, the son of Sir Charles Hallé...

Julius Caesar Ibbetson 1759-1817 old master painting English, 18th century This English school painting by Julius Caesar Ibbetson (1759-1817) depicts a countryside farm house off of a road with a horse drawn wagon...

A signed and dated French oil on canvas painting of a churchyard in a pastoral landscape by Lucien Quenard, 1942. The tableau depicts a few members of the congregation engaged in con...

18th-19th century Old Master "The Holy Family" After Anthonius van Dyck Fine old master painting depicting The Holy Family after a painting by Flemish artist van Dyck. Original...

Catalan Baroque S.XVI The Adoration of the Magi Oil on wood 92cm x 68cm Dated 1527 At the beginning of the Renaissance period, Gothic forms coexisted in Catalonia with other new solutions, in which religious fervor was mixed with the attention to detail of everyday life. Following the medieval tradition, the altarpieces are thought from a narrative vision, and flat painting...

Beautifully executed French Art Deco female nude oil on canvas, signed by listed artist Gustave Florot, circa 1930.

Polychrome Abstract Painting by Ludwig Orny (1920–2005) Oil on Panel Signed on Reverse This striking abstract composition by Ludwig Orny (1920 Bratislava – 2005 Munich) features dy...

French Village Scene oil on canvas painting This charming French oil painting captures the essence of everyday life in a picturesque French village. The vibrant scene features bustl...

A pair of Oil Italian Baroque paintings: - A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the Worl...

Oil Painting on Canvas signed Maurice Braun, 1902 Listed Artist A very lifelike rendering of a European street scene with houses. This early 20th Century painting features houses ...

Clarkson Stanfield: The Gulf of Salerno This oil painting on canvas shows commercial shipping and fishermen in the Gulf of Salerno. The tower at Vietri is visible in the background...

A wonderful 1960s Parisian oil painting, a Tourist Street Souvenir, by artist J. de P. of the Regatta at Argenteuil originally by Claude Monet. I...

Lucien Bleyfus (French, 1878–1953) Hillside Village Oil on Board This captivating Impressionist work by Lucien Bleyfus exemplifies the artist's mastery in capturing the serene beaut...

Large colorful oil painting by Studio AIK. The work is 121 by 101 cm. This work is inspired by Constructivism from Russia and Tachisme from France from the 1950s. Studio AIK seeks th...

Italian vintage painting "Grey Sun" , signed by Osvaldo Malvizzati (Imperia 1923...) and dated 1962. This painter, piedmontese by adoption, lived abroad for many years and then he settled in Pinerolo, near Turin. This painting refers to the famous film "A special day" by Italian producer Ettore Scola, with Sofia Loren...

Antique Italian painting from late 19th century. Oil painting on masonite depicting landscape, view of mountain village in impressionist style. Signed painting on the lower left G. M...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

Italian Mid-Century Modern Anamnesi acrylic paint work on canvas by Lucio Del Pezzo, 1960s. Colored acrylic paint work on canvas entitled Anamnesi with abstract subject with multicolored geometric shapes, on a mustard-colored background, and wooden frame with friezes with a golden finish. Drawing by Lucio Del Pezzo from around 1960s. Good conditions. Measures in cm 91x3x70h If you are interested in this product or need photos or additional information, we are available to respond any question as soon and quickly as possible. Remember to check our product in the listing of this our store, where we present fantastic original vintage products...

A French Napoleon III period still-life painting from the second half of the 19th century, signed and set in giltwood frame. This French still-life painting was born at the end of th...

Enrico Giussani (Italian, Gorgonzola 1938 ) "Colori di Luino" 1972 This painting is from an important Swiss Collection of Raimondo Rezzonico former President of the Locarno Film ...

Decorate an office or study with this beautiful antique pastoral painting. Hand painted in Italy circa 1870, the painting depicts a tranquil ...

Important work by one of the greatest artists of the Italian artistic avant-garde Fausto Pirandello It depicts one of his iconic subjects ‘Bathers’ with five characters depicted in ...

A 19th Century painting of a couple in love / gallant scene of Greco-Roman inspiration of the School of Antoine Watteau Watteau by Jean Baptiste Emile Beranger. ‘Beranger’ Signature...

The Triumph of Bacchus" late 19th century oil painting on canvas after Diego Velázquez. Signed and dated: M. De Saivin, 1897 Dimensions: Ca...

1930s Italian Signed Still Life Painting Still life with cactus Oil on canvas signed Piccari. On the back the artist's address Via Maddalena 2 Rom...

An English 19th century portrait of a gentleman, oil on canvas, original frame and stretcher, crackle paint typical of older pain...

This is a vintage coastal watercolour. A Welsh, framed painting, dating to the late 20th century, circa 1980. Beautifully observed and composed, with tasteful colour Displays a des...

19thc French Antique Masterpiece Oil on Board Painting "Woman Imploring The Cross In Ocean" Signed and Giltwood Framed. This is a stunning piece of art that moves you when viewed.

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...