Original Oil on Canvas Painting of Two Putti Cherubs, Denmark circa 1840-60

Striking original oil on canvas painting of Madonna and child with the infant Saint John the Baptist. Unsigned. After the original by Guercino (Giovanni Francesco Barbieri) dated ca....

Original oil on canvas painting of The Flight into Egypt with Mary and Christ child. Spanish School, Seville, 17th Century. Relined canvas. Age related craquelure throughout. Painti...

Original oil on canvas allegorical paining of harvest represented by Demeter, goddess of agriculture with sheaf and scythe. Unsigned. Painter unknown, 18th century Italian School. C...

Original oil on canvas, a pair of portraits of a young woman with pearl necklace and a young man in a golden embroidered red cape. Unsigned. Condition: The canvas is relined. Retouc...

This is a charming painting of a cherub with an arm extending forward, perhaps hold out a bouquet of flowers. The painting dates to the mid-18th century and is probably cut from a larger painting. The putti is well-framed in a French a gold leafed neoclassical-style. Considering the quality of this painting, and although not signed, the painting was most probably painted by a recognized Italian 18th century artist.

Antique Italian painting from the first half of the 17th century. Oil artwork on canvas depicting an allegorical subject, Game of cherubs, of excellent pictorial quality. Painting of...

This is an Pair of oil Paintings in the Style of François Boucher. This is a charming 18th century Pair of oil on canvas painting depicting cherubs . The cherubs are draped. This...

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...