Painting Lake Garda Italian School 18th Century

A Saint Paul of Tarsus Painting, also called Apostle Paul, Saul of Tarsus, Saint Paul the Apostle or Apostle of the Gentiles. The sword in Saint Paul's hand symbolizes the way he wa...

This signed 18th Century painting showcases a beautiful scene of a loving man and woman and their loyal canine companion gathered around a charming fountain, executed in the Baroque ...

A 17th Century painting of Joseph with the Child Jesus on his lap, a rare Baroque motif of paternal love. Oil on wood Frame: 47x54 cm Without frame: 27x34 cm

A biblical scene of the Adoration of the Magi of the baby Jesus, depicting the meeting between the mysterious travelers and the Family. An Italian painting of deep light contrast an...

An 18th century painting of a gallant scene in a park. Attributed with seal of painter's studio to Philippe Mercier (1689 to 1760) from the circle of the french painter Nicolas Lancret, a follower of the École of Antoine Watteau. Oil on canvas, in a fine carved giltwood frame. Frame: Width: 16,53 in (42 cm) Depth: 14,56 in (37 cm) Canvas: Width: 12,99 in (33 cm) Depth: 10,62 in (27 cm) Philippe Mercier (Berlin 1689 – London 1760) born in Berlin and studied at the Berlin Akademie with Antoine Pesne before traveling to Italy and France. By the time he arrived in London in 1716, had considerable familiarity with the work of contemporary French painters, particularly Watteau and his sophisticated style. Soon won Watteau patronage in court circles. In 1726 painted two important group portraits that can be seen as an introduction to English art - Baron Schultz and his friends (1725, Tate Gallery, London) and Viscount Tyrconnel with his family (1725-6, private collection). In 1729, Mercier was appointed Chief Painter to Frederick, Prince of Wales, and, a year later, keeper of his library, but they seem to have fallen away in the latter half of the 1730s, when he retired to the country, where painted several portraits for the Samwell family of Upton, Northants, and Hesilriges of Noseley, Warwicks. In 1739 Mercier moved to York, where he built up a considerable portrait practice among the leading families in the county. It was at this time that he made his greatest contribution to British painting, introducing and developing the 'extravagant image', a genre derived from Chardin as well as Watteau and 17th-century Dutch genre painting. Described by George Vertue as "bit of some conversational figures as large as life: vain plaisant Fantasies and habits: mixed modes very well done – and very approved", such works were frequently recorded and clearly enjoyed considerable success. Painted in the second half of the 1730s, the present work, An Allegory of Taste, is a fine example of this way of painting and its Rococo sensibility reveals the artist's affinities with contemporary French art...

Painting of shepherds and flocks of sheep; Lake and fortress in the distance. Not signed. With period craquelet, showcasing its history and the passage of time. Frame: 88,5 x 69 c...

Title: Landscape. Date/Period: 18th century. Dimension: measures without frame 89cm x 61cm. Frame 15cm in plus. with gold trim. Materials: Oil on canvas. Additional information: Ital...

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). An allegory of the love Omnia vincit amor...

Beautiful oil on panel from the Italian school of the 18th century representing a faun trying to seduce a half-naked nymph, behind them a man seems to hav...

"STILL LIFE" Italian School of the 18th Century Oil on canvas pasted on wood, 18th Century Italian school Small defects. Dim.: 80 x 107.5 cm good conditions