Painted Paintings

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

Kaiho Yusetsu (1598-1677) Tiger and Dragon Early Edo Period, Circa 1650 A Pair of Six-fold Japanese Screens. Ink and slight color on paper. Dimensions: Each screen: H. 171 cm x W. 380 cm (67.5’’ x 149.5’’) In this pair of early Edo period Japanese screens a group of tigers prowl in a bamboo grove whipped with fierce wind, while a dragon claws through clouds and mist. The dragon embodies elemental qualities - looming out of the mist, the coils of its body disappearing in the clouds. The dragon is calling for rain, symbolizing spring which is considered the fountain of life. On the other side, the tigers calls for the wind, symbolizing autumn which is considered the end of life. Tigers were familiar motifs within Japanese art from ancient times though the animals were imaginary to the people in the 17th century. While dragons and tigers are usually associated as sacred and ferocious, in this painting, both animals have rather amusing expressions. The tigers appear to glare at the dragon with cat-like eyes, and the look on the swirling dragon’s face appears almost affectionate - lending a playful flair to an otherwise magnificent theme. The tiger and dragon are cosmological symbols of the balancing forces in the world. Screens such as this were originally meant to express the fluctuating nature of the world. For Japanese in the early Edo period, they likely suggested the powers of the cosmos. In Japan the tiger and dragon motif was originally absorbed into the circles of Zen monasteries before spreading into the secular world. The theme especially appealed to the military classes with the Kano school, the official painters to the Shogun and the samurai, being the leading contributors. The painter of this pair of screens, Kaiho Yusetsu (1598-1677), was closely patronized by the third Shogun Tokugawa Iemitsu. In his later years he worked with Kano school artists...

Pair of naïve allegorical landscape paintings. Oil on canvas Signed Lieutenant Christian Georg V. Lind, 1837 and 1838. See text on the back. In original gilded damgaard frames. ...

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...

Francesco Zucco (circa 1575-1627) Gentleman’s portrait Measures: Oil on canvas, cm 120 x 140 The painting analyzed here belongs to the pictorial production of Francesco Zucc...

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

Spanish Colonial Madonna and Child Original oil on wood painting XVIII century DETAILS Original period frame. PAINTING DIMENSIONS Height: 6-3/8 inches Width: 7.5 inches Depth:...

Antonio Cifrondi (1665 - 1730), Attributed Man with stick - Saint Joseph Measures: Oil on canvas, Cm 115 x 79 - With frame, cm 139 x 103 This canvas is, for stylistic and c...

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...

We offer a very interesting work of art, this ,s an excepcional Italian Baroque Oil /canvas , showing a Rubens and Van Dyck portrait, teacher and student together !!! Peter Paul Rub...

18th century, Italian painting depicting landscape with watermill and characters Oil on canvas; Measurements: frame cm L 103.5 x H 127 x P 5; painting L 93 x H 117.5 The painting...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

Amazing 260 year old Japanese kakejiku (hanging scroll) with a refined painting of the nine headed dragon deity, with a Buddhist flame as a crown, an...

17th century Portrait of Saint Paul Measures: Oil on oval canvas, 67 x 50 cm - with frame 81 x 64 cm The portrait examined here depicts the Apostl...

This description is taken from the information secured to the reverse of the painting - 18th century oval oil portrait of Rebecca Steel of New Timber...

Rare and remarkable set of eight 18th century paintings of birds on silk executed with egg tempera in a delicate yet colorful style. Interesting historica...

An early 18th century French 3-panel folding screen, oil-on-canvas, depicting village and maritime scenes in cartouches with other decoration.

Wonderful naive oil painting of a monk Great muted colors in unrestored condition Oil on canvas. No stretcher. There is another religious painting on the verso Unsigned. Art...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Miniature on copper...

Painting by Pietro Domenico Ollivero. "Manio Annio Curio Dentato receives the ambassadors of the Samnites", around 1740 The work in question depicts the scene of and was made by the famous italian painter Pietro Domenico Ollivero. The oval canvas shows on the back the card of the Galleria Caretto in Turin (Italy) with the authentic 1965 Giorgio Caretto. The work was also published in "I Piaceri e le grazie" by Arabella Cifani and Franco Monetti in 1993. The subject refers to the history of Rome and an episode narrated by the historian Valerio Massimo. Manius Curius Dentatus (330 BC - 270 BC), one of the great Romans of the 3rd century B.C. was a consul in ancient Rome, known for ending the Samnite Wars. Elected consul in 290 BC. along with Publio Cornelio Rufino, in the same year he fought and won the Third War against the Samnites and their allies, thus ending a conflict that had lasted for 49 years. He definitively subdued the Sabines and the Greek army of Pyrrhus in the battle of Benevento. He represented the ideal prototype of ancient Roman for the generations that followed in that he avoided public honours; Cato the censor, who collected his sayings, placed him among the great figures of universal history. For centuries after his death (in 270 B.C. while overseeing the construction of the second aqueduct in Rome) his military exploits were recounted and his moral rectitude was praised as an example for all the Romans. Ollivero, in the cultured choice of the episode, illustrates the moment when Manio Curio Dentato is found in his home, characterized by Roman walls, sitting by the fire, on a rustic bench while eating his meal in a "ligneo catillo" (wooden basin...

Behold "Abundantia," an oil masterpiece on panel, often attributed to the accomplished artist Angelica (Maria Anna) Kauffman (Italian/English, 1741-1807). This remarkable work of art...

18th Century painting of an Italian coastal scene, unsigned. Professionally cleaned and relined in the second half of the 20th century. New gold leaf...

A fine pair of French 18th-19th century whimsical rococo style chinoiserie oil on canvas, circle of Jean-Baptiste Pillement. (French, 1728-1808). One oil painting depicting an outdoor patio scene of a standing young mother, holding a fan, with her three young children playing with a horse-toy, a parrot and a cat, all surrounded by flowers, plants, trees, planters and flanked by a dragon fountain...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

Oil-on-canvas portrait of Lady Henrietta Crofts, Duchess of Bolton and daughter of the Duke of Monmouth, standing three-quarter length in white silk ...

18th Century Framed Family Crest oil painting on canvas is a wonderfully well preserved work in part because of the lavish frame that was added to ...

Rare Double painting on canvas. On the framed side a refined representation of the crucifix, on the other a depiction of the Virgin Mary holding the...

18th century French Baroque Old Master painting oil on leather. Old Master painting, French Baroque period 18th century oil on leather represents a lush imaginary landscape in ric...

Nice wooden panel painted with geometric decorations, figures and fantastic animals, probably used to hide niches in the wall or as a decorative element on the door jamb. Typical Mar...

An extraordinary oil on cardboard, French school, 18th century. "Naval battle", signed. With a naive style, shows a naval battle, possibly the battle of Trafalgar, in a beautiful ra...

A pair of early 19th Century Continental School Oil on canvas. One portrays Egyptian Figures at a table with Hieroglyphics, and the other one a flute player and a singer. The scenes are from a funerary banquet, from the Tomb of Nenkhef. Both are framed in matching silver gild...

Emilian school, 18th century Still life with fruit and biscuits Oil on canvas, 32 x 52.5 cm - with frame 44.5 x 64 x 5.5 cm Composite still life enlivened by a colorful arrangem...

Cranes Anonymous, Kano School. Edo period, second half of the 17th century. Pair of six-panel screens. Ink, pigment gofun and gold l...

Early religious work of art, presented in the original antique frame. This beautiful and uplifting portrait of Saint Joseph holding hands with the child Jesus is an oil on canvas an...

Over the centuries, in period known as Renaissance, more than several painters all over Europe were fascinated by the theme based upon similar subject with Mother and the Child as main figures. This stunning Madonna with Child oil on canvas painting is approximately from 16th century and could belong to a follower or a circle of Giovanni Bellini...

Created in England and attributed to Francis Wheatley (1747-1801), the oil on panel depicts a young shepherdess attending her sheep and lambs in a pastoral landscape. The colorful ar...

Spanish Colonial Penitent Mary Magdalene Original oil on canvas painting XIX century Details Original period frame. Painting dimensi...

2 portraits, late 18th century, oil on board.

Antique Nativity Christmas Italian oil painting on canvas, from first half 17th century. Anonymous painter (as usual at that time) and with an authe...

This colorful and gleeful genre painting is from France, circa 1770. Genre paintings depict people engaged in common activities, such as picnicking, strolling through a park, or romantic settings. In the 17th and 18th centuries, paintings of this style typically came from France, The Netherlands, and Belgium. This particular painting can be considered to be after Nicolas Lancret...

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...

16th century, by Raffaello Sanzio (Urbino, 1483 - Rome, 1520) Madonna of the Carnations Measures: Oil on canvas 38 x 30 - with frame 59 x 52.5 cm The Madonna dei Garofani made b...

Portrait of a Gentleman from Della Ruota family Lombardy, dated 1624 Oil on canvas Measures: 105 x 81 cm (without the frame) The coat of arms at the top left of the portrait identifies the effigy as an aristocrat belonging to the Lombard family Della Ruota, represented at the age of 61 in 1624. The presence of vanity at the bottom right is a clear reference to the passage of time, to the aging and dying body...

George Lambert (1700 - 1765) Bucolic landscape with characters Measures: Oil on canvas, 50 x 74 cm Frame 59 x 84 cm George Lambert with Richard Wilson is recognized as one of the greatest interpreters of English landscape painting. Lambert was born in Kent and studied art with Warner Hassells and John Wootton...

Spanish colonial oil on panel painting depicting a kneeling saint or bishop being adorned with floral wreath by an angel in the upper left corner....

Lovely 18th century Italian painted panel featuring chinoiserie images. Vibrant colors of blue, pink, green and gold. Such an interesting piece ...

Paolo Monaldi (Rome, 1710 - after 1779), attr. Genre scene Oil on canvas, 34 x 25 cm With frame, 36 x 46 cm The canvas describes a moment of rest taken from the rural world: the strings of a lute plucked by an elderly man in the foreground cheer a woman with her child and a passer-by with his mule stopped to listen. The subject is typical of Paolo Monaldi, a painter born in Rome in 1710 and a pupil of the landscape painter Paolo Anesi...

Stunning late 1700s baroque oil painting (Fiemme Valley. Trentino) Strongly considered a Unterperger's circle artwork by the experts hired for this task...

Interests: Royalty, Enlightened Absolutism, 18th century European painting, Joseph Hickel, Marie Antoinette A fine pair of 18th century portraits depicting Maria Theresa, Holy Roman Empress consort, Queen consort of Germany, Hungary, Croatia and Bohemia and Archduchess of Austria and her son Joseph II, Holy Roman Emperor, King of the Romans, Germany and Archduke of Austria. Empress Maria...

Workshop of Jan Frans van Bloemen (Antwerp, 1622 - Rome, 1749) Lazio landscape Oil on canvas, 48.5 x 64.5 cm The painting, to be considered belonging to the vast production...

The painting shows Magdalene with a crucifix. The intimate composition raises the inner contemplation and penitence of the biblical figure to be the subject of the artwork. The oil ...

An Old Master style original oil painting on canvas in later giltwood frame. The painting with beautifully painted background of a mountain and clouds with trees in the foreground. T...

18th Century Dutch genre painting with grandparents seated side by side, an oil on wooden panel miniature interior scene with elderly man and wom...

Nicholas Pocock: ‘The Glorious First of June’, ink, grey wash and watercolour on paper showing the battle formation of Admiral Lord Howe’s British flee...

A very handsome and well executed pair of 18th century Irish Georgian portraits. Both executed in pastels on paper laid down on canvas, set within th...

Spanish Colonial Mother of God and Young Jesus with Lambs Original Oil on Wood Panel Painting XVIII Century DETAILS Original period frame. PAIN...