Art on Sale

Jacob Ferdinand Voet (Antwerp 1639 - Paris 1689) Atelier Portrait of the Young Ortensia Mancini, Duchess of La Meilleraye (Rome 1646 - Chelsea 1699) Oil on canvas 75 x 61 cm. - exqu...

Guillaume Courtois known as 'il Borgognone' (Saint Hippolyte 1626 - Rome 1679) The Resting of Diana Oil on canvas (97 x 70 cm. - Framed cm. 121 x 95) The proposed painting, of exqui...

Venetian School of the late 16th century Workshop of Jacopo Negretti, known as Palma il Giovane (Venice 1544 - 1628) Sleeping Venus and Cupid Spied on by a Satyr Oil on canvas (49 x...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to pres...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

Portrait of French King Louis XV (1710-1774) in armour 18th century French school Workshop of Jean Baptiste Van Loo (1684-1745) Circa 1730 Oil on canvas, dimen...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

A fantasy Mediterranean seascape with harbour, moored ships and figures along the coast, and villages in the distance. Marten van Valckenborch (Belgium 1535 - Frankfurt 1612) circle...

Hendrick van Balen (Antwerp 1575 - 1632) workshop Possible Jan van Balen (Antwerp 1611 - 1654) Madonna and Child with Three Angels Oil on panel 65 x 50 cm....

Jan Kraeck, in Italy Giovanni Caracca (Haarlem c. 1540 - Turin 1607) Workshop of Equestrian portrait of Charles Emmanuel I, Duke of Savoy (Rivoli 1562 - Savigliano 1630) known as 'the Great' Oil on canvas (148 × 122 cm - Framed 165 × 139 cm) The work is also accompanied by an expert's report by Dr. Arabella Cifani, which traces it back to a pupil of the master, Giulio Maino (1570 - after 1643) The subject of this fascinating equestrian portrait is Charles Emmanuel I, Duke of Savoy (Rivoli 1562 - Savigliano 1630), immortalised in adulthood, proudly mounted on the back of his white horse, in his sumptuous ceremonial armour trimmed with fine gold ornaments. He wears short hair, a pointed beard and moustache, with a lace ruff around his neck. Nicknamed 'Firehead' by his subjects, due to his manifest military aptitude and impetuous character, he was one of the most capable and cultured princes in the history of the House of Savoy; his birth was announced to the family by Nostradamus, in 1561, who added that he would become 'the greatest leader of his time'. He married the daughter of Philip II of Spain...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, within a carved and gilded wooden frame cm. 75 x 108 This delightful landscape view animated by a family of shepherds who rest from their daily duties should be compared to the hand of Francesco Zuccarelli (Pitigliano 1702 - Florence 1788); In the landscapes painted by Zuccarelli the world is crystallized, frozen in a moment of idyllic quiet, where the 'Arcadian' sense of the landscape is rendered with that pictorial vivacity, chromatic lightness and compositional grace that we find in its entirety in his painting. By way of comparison we can compare our canvas to other compositions, including: - Landscape with river and resting shepherds, Accademia Carrara, Bergamo - Landscape with bridge and horseman, Accademia Carrara, Bergamo - Landscape with river, village, fisherman and shepherdesses' (Christie's, London May 1960, - Landscape with figures, Accademia Carrara, - Landscape with knight and figures, Accademia Carrara Tuscan by origin, Francesco Zuccarelli trained first in Florence with the landscape architect Paolo Anesi...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

Herbert Pugh (Ireland Fl. 1758-1788 London) Old Northumberland House, c. 1770 Oil on panel 20 x 30 in (50.8 x 76.2 cm) Provenance An important private collection Born in Ireland he went to England about 1758, and in 1765 when he was living in the Great Piazza, Covent Garden, he obtained a premium of twenty-five guineas from the Society of Arts for a landscape in oil. He was a Member of the Society of Artists and contributed forty-five works to its exhibitions between 1760 and 1776, nearly all landscapes and topographical views, but including 'The Italian and British Quack Doctors', 'The Amorous old Beau' and 'The Procuress'. These were probably of the same nature as two of three pictures done by him in imitation of Hogarth which, says Edwards (Anecdotes of Painting) "are nothing but mere representations of vulgar debauchery". In 1777 he had two works exhibited at 'The Exhibition or Grand Museum of Arts and Sciences at the Great Room, Royal Exchange, Strand. Pugh's intemperate habits hastened his death which took place shortly after 1788. There is a large landscape by him in the Lock Hospital, London and two views of London Bridge were exhibited in the Grosvenor Gallery...

The Annunciation Circle of Paolo De Matteis (Piano Vetrale, 1662 - Naples, 1728) oil painting on canvas (106 x 90 cm - with frame 118 x 103 cm.) The work,...

Venetian painter (dated 1869) - Venice, view of Palazzo Sanudo Soranzo van Axel ai Miracoli. 44.5 x 37.5 cm without frame, 59 x 51 cm with frame. Oi...

Francesco Noletti known as the Maltese (Malta 1611-Rome 1654) Workshop/circle of Still life with musical instruments, toys, armour, textiles and precious objects Oil on canvas (52 x...

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

A late 17th century French School, Workshop of Nicolas de Largillière (Paris, 1656-1746) Circa 1690 This lovely young woman is portrayed at mid-height, disguised as Flora, goddess of...

Francesco Albani (Bologna 1578 - 1660) Circle of Mars and Venus in the Forge of Vulcan (or Allegory of Fire) from Ovid, Metamorphoses, book IV The pendant of the present painting, ...

Hendrick Jan Scholl (1717-1792) A hound and dead game in a woodland landscape Signed "H.J. Scholl pinx 1763" lower right Oil on canvas 46 1/2 x 36 1/4 in ...

Antique sculpture of a female Moor with flowering cornucopia Venice, 19th century Carved, lacquered and gilded/silvered wood Total height 202 cm (column base 82 cm, figure 120 cm) ...

Girolamo Bonini, called Anconitano (Ancona, circa 1600 - Bologna 1680) Annunciation (or Madonna of the Beautiful Angel) Oil on canvas (115 x 91 cm. - Framed 134 x 108 cm.) Work accompanied by the expertise of Prof. Emilio Negro The work, undoubtedly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, a portrait of supernatural beauty, and the Virgin; We see her here absorbed in reading a prayer book with her eyes turned humbly downwards as a sign of devotion, while a small cherub hands her white lilies, a symbol of purity and chastity.   In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering in the clouds charged with intense glow and play of light, in full Baroque style. It should also be noted that the image of the Saviour's mother in a delicately pious attitude, with her yellow veil, her broad blue mantle and her usual modest red dress from which the edges of her white blouse protrude, is to be interpreted as a kind of tender allegory of sacred love. The painting in question is an interesting replica with variants of the composition commissioned from Francesco Albani for the Fioravanti chapel in the ancient church...

STILL LIFE WITH BIRDS AND RAISINS, WORKSHOP OF FRANS SNYDERS (1579-1657) An exquisite and attractive work, our painting with its rich and harmonious composition is one of the remarkable examples of the passion of art lovers of the 17th century for still lifes, the genre in full ferment in Antwerp in early 17th century, long before its arrival to Paris in the 1630s & 40s. Our painting presents on an entablature covered with wine-colored velvet cloth, various objects in an artistic arrangement which is intended to be spontaneous. The tight framing, like an extract and the piled up objects suggest a plenitude and an infinite richness of what nature can offer and reinforce the feeling of prosperity. The wicker basket overflowing with translucent bunches of grapes in green and purplish hues with icy reflections dominates the right side of the painting. In the center is the game birds, partridge, snipe, sparrow, pincon and others, each bird with a fine and precise design, transparent plumage, the meticulous rendering of the different beak or leg parts, zebrures and streaks of the down. On the left, two stacked white and blue Chinese...

HENRI MILLOT PORTRAIT OF LOUISE-DOROTHÉE VON HOFFMAN Signed “h. millot” and dated 1724 on the back of the original canvas Henri Millot, French painter (Paris, active between 1699 an...

Luis de Morales, called 'El Divino' (Badajoz 1509 - 1586) workshop of La Pietà with Saint John Oil on panel (82 x 65 cm /In frame 109 x 92 cm) STATE OF CONSERVATION: The panel is in good condition, with restorations and cracks clearly visible from the pictures. Gilded and lacquered wooden frame, in good condition. We present this intense Pietà executed on wood panel, the work of a painter of the late Spanish Renaissance who drew on the celebrated iconographic model created by Luis de Morales, known as El Divino (Badajoz 1509-1586), a subject reproposed by the artist and then by his flourishing workshop in numerous versions. This is an extraordinary work, in which the author demonstrates incredible realism and emotional depth in his portrayal of the Madonna and Christ, accompanied by Saint John the Evangelist. In an extremely devout Spain, Luis de Morales counts himself as one of the painters most interested in the dramatic aspects of Christ's life, from his painful Passion journey to his death. This devotional subject, the Pieta, so frequent in Christian art, is renewed in Morales' art with enormous expressive force; it is not for nothing that the artist was nicknamed the Divine, and not only for the creation of a devotional iconography in line with the spirituality of the time, but also for the intrinsic intensity of his religious paintings. The depiction, to great dramatic effect, shows Christ, immediately after being deposed from the cross, gently welcomed into the arms of the Virgin. The intense maternal compassion is also evident in the expression on her face, which, always aware of her son's fate, exudes suffering, melancholy but also serene resignation. Christ, abandoned in his mother's embrace, shows an emaciated and sorrowful face, made even more ghostly by his half-open mouth. The tree of the cross looms over the figures, emphasised by an evocative dark, completely monochrome background, to which the three figures are contrasted with strong lighting. Evident in Morales' painting is the devotional slant typical of Counter-Reformation painting, accentuated by a style that recalls both Italian painting for its research and chiaroscuro effects, and Flemish and German painting for its strongly accentuated dramatic tones. The work shows a strong physical and psychological characterisation of the characters, rendered by the marked chiaroscuro effects and the plastic construction of the figures, also using a sfumato technique, which show the primary influence of Leonardo da Vinci, Raphael and Sebastiano del Piombo. On the other hand, his Flemish training is evident in the anatomical modelling and treatment of the folds of the Virgin's dress, which retain the sharpness of the Nordic painting tradition. We can mention, among the most beautiful versions similar to our composition: - Fig.1 Luis de Morales (c. 1520-1586), La Piedad, c. 1568, Óleo sobre tabla 72 x 50 cm.
Museo de Bellas Artes de Bilbao - Fig.2 Luis de Morales, La Piedad, c. 1560, Óleo sobre tabla 126 x 98 cm.
Real Academia de Bellas - Fig.3 Luis de Morales, La Piedad, 1565 - 1570, Oil on panel 42 x 30 cm.
Museo del Prado - Fig.4 Luis de Morales, Triptych of the Pietà St John and St Mary Magdalene...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Outstanding small oil on velum sketch of a North African/ Arab head study. The painting is a classic sketch and I'm sure the figure would have been used in a much larger finished w...

Christian Reder (Leipzig 1656 - Rome 1729) - The departure of the soldiers from the fort. 57.5 x 108.5 cm without frame, 89 x 122 cm with frame. Antique oil painting on canvas, in ...

17th c. Flemish school - Allegory of the five senses - attributed to Pieter Lisaert (Antwerp, 1595-1629) Our attractive painting on wood immediately catches the eye with its bright a...

Perseo and Andromeda - Oil on canvas cm.120x80, Eugenio De Blasi, Italy, 2005. Gold gilded wooden frame available on request This is his reinterpretation of a large ancient painting...

Francesco Albani (Bologna 1578 - 1660) Circle of The Triumph of the Galatea Nymph (or Allegory of Water) from Ovid, Metamorphoses, book XIII Oil on canvas (53 x 72 cm. - in frame 62 x 82 cm.) The proposed beautiful painting depicting The Triumph of the Nymph Galatea can be attributed to a master adhering to the stylistic and compositional models of the Bolognese Francesco Albani (Bologna 1578 - 1660), presumably active within his close circle. A disciple of Annibale Carracci, Albani is considered, together with Domenichino and Guido Reni, to be one of the leading exponents of Bolognese classicism, in great demand by the cultured patrons of the time. Thanks to a style characterised by compositions of an idyllic nature and therefore pleasing to the most intimate taste of the patrons, the greatest output of Albani's workshop is to be found in mythological paintings rather than those with a religious theme. The composition under examination draws inspiration, albeit with variants, from the Allegory of Fire/Allegory of Water, preserved in the Galleria Sabauda in Turin, part of a cycle of four tondi inspired by the Elements and executed by Francesco Albani between 1625 and 1628 for the superb collection of Cardinal Maurizio of Savoy (brother of Duke Victor Amadeus I), who had been fascinated by the Stories of Venus and Diana painted by Albani for Scipione Borghese before 1622. These compositions enjoyed enormous critical acclaim and were extraordinarily praised by European collectors for their aesthetic and decorative value, in which myth and nature find full landscape ideality. The painting shows, in particular, the Apotheosis of the nymph Galatea, an episode taken from ancient Latin...

Black and white etching on wire rod paper, representing the myth of Chaos. Plate from the volume “Le Temple des Muses”, published in Amsterdam in 1742 by Zacharias Chatelain. Capture (under the image) and author "B. Picart del. 1731" inscribed under the frame engraved on the lower left margin. In good conditions, except for a normal yellowing of the margins. This was an illustrated book of Ovid's most popular fables published in 1733 in Dutch (Tempel der Zanggodinnen), in 1738 in English, and in 1742 in French by Zacharias Chatelain. The engravings had captions in four languages: French, English, German, and Dutch. The artists involved were Michel de Marolles, Bernard Picart, Jacques Favereau, Abraham van Diepenbeeck...

Genesis 1 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The artwork ...

Attributed to John Downman (1750-1824) Portrait of a young gentleman, seated beside a tree Oil on canvas Canvas Size - 30 x 25 in John Downman was a fashionable portrait painter in the second half of the eighteenth century and the beginning of the nineteenth. He was born in Ruabon, North Wales, the son of Francis Downman, an attorney of Devonshire stock, and his wife Charlotte, daughter of Francis Goodsend, the private secretary to George I. In 1768 John became a pupil of Benjamin West and the following year attended the Royal Academy Schools. He showed his first portrait at the RA in 1770 and his first subject painting in 1773, exhibiting there until 1819. From 1773-4 Downman, by now married, studied in Rome in the company of Joseph Wright of Derby. By 1777 Downman was living in Cambridge, but the following year set up a studio at Bedford Street, Covent Garden. From 1779-1804 he lived at increasingly fashionable London addresses, including Bond Street, Jermyn Street and Piccadilly. Downman painted few large-scale oil portraits...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711), attributed Circumcision of Christ Oil on canvas, 120 x 102 cm., In frame 138 x 119 cm. The p...

Portrait of Princess of Bourbon as Hebe Pierre Gobert, circa 1730 Presumed portrait of Elisabeth Thérèse Alexandrine of Bourbon-Condé, Mademoiselle de Sens, depicted as the goddess Hebe kidnapped by Zeus, transformed into an eagle. 18th century French School, around 1730 Pierre Gobert (1662-1744) and workshop Oil on canvas Dimensions: canvas: h. 129 cm, w. 95cm Dimensions: framed: h. 156 cm, w. 124cm Louis XIV style giltwood and cardved wood frame Large and imposing portrait of the young princess portrayed seated on an eagle in the heavens. Seen from the front, the princess is dressed in a low-cut white chiffon dress, exposing her throat. Delicately made-up oval face, dominated by large blue-gray eyes is surrounded by powdered hair, raised, releasing the forehead and the ears, and of which some locks fall on his shoulder. A large blue scarf passed over the shoulder covers her knees and flies in the wind. A garland of flowers coming from the back goes over the knees and down again on the eagle. In her right hand she holds a golden goblet and in her left hand an ewer. The eagle supporting the young woman seizes in its claws the thunderbolt (the beam of fiery lightning), the attribute of Zeus. The figure of the young woman is enlivened by the fluidity of the antique drapes...

Aniello Ascione (Naples, fl. 1680-1708) A still life of flowers in an urn with a parrot, melon, pomegranates and figs at its base, a view to an ornamental garden beyond Oil on canvas 59 3/4 x 39 3/4 in Provenance The Alexander Family Collection, Milford House, Co. Carlow, Ireland The latter half of the 17th century and earlier 18th century marked the golden age of Neapolitan still-life painting and Aniello Ascione was one of its most highly regarded exponents. His sumptuous paintings, brimming with fecund produce of the Mediterranean and painted in rich colours, were eagerly sought after by those who wished to decorate their palaces in that city. Naples in the seventeenth century had established a significant reputation and artistic tradition of producing flamboyant and technically excellent still-lifes which had largely been initiated by Caravaggio who, having stated that it required as much effort to paint a good flower piece as a figure subject, helped to revolutionise and eventually abolish the closed attitude to genres of painting. Caravaggio maintained that art was the mirror of nature and his superb Basket of Fruit, now in the Ambrosiana in Milan and painted in 1597, marked the birth of European still-life painting. Throughout the 17th century, Neapolitan still-life painting was founded on the principles demonstrated by Caravaggio and these artists seem to have been the only ones to correctly understand and utilise his ideas. These paintings were noted for their vibrant portrayals of flowers, often in great abundance, fruit and birds done in an elegant and decorative manner. Luca Forte (c.1615- c.1670) was one of the first Neapolitan artists to adopt the Caravaggesque naturalism in this genre of painting and with exceptional creativity sweeping through the city in the 1630s, he was soon followed by Paolo Porpora and Guiseppe and Giovanni Battista Recco and the Ruoppolo family. When Abraham Brueghel arrived in Naples in about 1670, his influence accelerated the transition of the portrayal of still-life to a more baroque style often epitomised by a mass of flowers, cascading over classical objects like water. This more baroque style was taken up by a new generation of painters and one of the first and most prominent of these was Andrea Belvedere (1652-c.1732). He taught Nicola Casissa and other artists working in a similar vein included Gasparo Lopez (called Gasparo di Fiori) d. circa 1732, Paolo Porpora (1617-1663) and Nicola Malinconico (1663-1721). The aforementioned Ruoppolo family were also eminent and Giovan Battista Ruoppolo (1619-1693) instructed the young Aniello Ascione. His pupil became one of the most celebrated representatives of Neapolitan Baroque which combined the traditional naturalism favoured by the city with the new 18th century decorative style. This style proved highly popular with the more secular Neapolitan middle classes as well as the aristocracy and royalty to furnish their grand homes. They loved the harmonious colouring and composition suffused with exuberance Ascione became the most prominent still-life painter in Naples at the transition from the seventeenth and eighteenth centuries. His paintings, which are often of a significant size, utilise intense decorative colours with an abundance of flowers and piles of fruit such as pomegranates, grapes, peaches, pears, melons and plums. Sometimes these spill down stone steps or are draped or stacked with flowers among classical statuary and there is often a view to a landscape or ornamental garden beyond to give the composition depth. Accompanying the fruit and flowers, Ascione occasionally added parrots, dogs or rabbits and he often signed with a monogram comprised of interlocking As although there are some works signed in entirety. His smaller pieces tended to be more intimate in construction with one looking at just different fruits with some of its foliage so that the different hues and skin textures could interact and to some extent, these reflect the legacy of Abraham Brueghel. One very rare piece, now in the Castellino collection in Naples, is a kitchen interior with a skinned lamb which owes its influence to Guiseppe Recco. There is a fine set of the Four Seasons, which also incorporates putti into the compositions and which are believed to have been contributed by Nicola Vaccaro (1659-1720) the son of Andrea Vaccaro...

Titian painter (16th century - 17th century) Titian Vecellio (1488 or 1490 - 1576) Christ as Salvator Mundi with the Madonna at Prayer Oil on panel (51 x 67 cm. - with tabernacle fr...

Scipione Compagni, or Compagno (Naples, about 1624 - after 1680) Fantastic landscape with the Crucifixion of Christ on Mount Calvary Oil painting on canvas cm. 47 x 62 with antique frame cm. 63 x 78 cm. We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno. It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative. The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works. The painting, characterized by a multitude of characters, shows the scene of the Crucifixion on Mount Calvary, where the three crosses stand out against the background illuminated by a clear light, in an almost otherworldly atmosphere of a mountainous river landscape in front of the city of Jerusalem. in the distance. Watching the dying Christ tortured we can see the three Marys, with the Virgin in red dress and blue cloak, surrounded by other women and soldiers, some of them on horseback, one of whom holds a spear with which he inflicted the wound in the side of Christ. In the foreground, again, numerous men, women and children, who attend the scene of the Crucifixion. The bright and clear colorism of the work in question is typical of Neapolitan painting...

Melpomene, Muse of Tragedy from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed in the plate. Good conditions with some fol...

The beautiful portrait proposed, which represents a Genoese woman of high social origin and dressed in a sumptuous and elegant manner, illustrates the typical stylistic characteristics of the great Genoese portrait painter Giovanni Maria Delle Piane, called the Mulinaretto. Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745), attributed Portrait of a noble Genoese nobleman Beginning of the 18th century Oil on canvas, 79 x 65 cm, In a beautiful carved and gilded wooden frame cm. 106 x 89 The noble lady displays a stern and proud expression, a smile which has just been mentioned but full of determination; the well-erected and authoritative pose is softened by the habit of the red ribbon woven in the hair, reminiscent of the brocade of clothes, according to an interpretive taste typical of Delle Piane. In the painting we appreciate the meticulous detail of the lace of the sleeves and fabrics on the neckline, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that envelops the figure and that emerges from the the dark background. Finally, the pleasant conduction which characterizes the refined line is appreciated in the capacity to make the light glide on the clothes and the complexion of the woman. The artist, pupil of Giovanni Battista Gaulli...

St. George Defeats the Dragon Follower of Raphael Sanzio (Urbino, 1483 - Rome, 1520), 17th-18th century Oil on oval canvas 124 x 95 cm./ in frame 148 x 118 cm. The painting evocati...

Artist: Unknown (Circle of David Teniers the Younger, Flemish, 1610-1690) Title: "Man in Tavern Smoking a Pipe" *No signature found Circa: 1690 Medium: Original Oil Painting on Wooden Board Framing: Framed in an antique gold gesso frame...

Giulio Carpioni was most likely born in Venice in 1613 and trained under the artist Alessandro Varotari known as Il Padovanino. After travelling to Rome early in his career he sett...

Genesis 31 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The artwork...

Charles François Grenier De Lacroix, known as de Marseille (Marseille 1700 - Berlin 1782) atelier Mediterranean coastal view with figures and fishermen at sunset Oil painting on can...

Workshop/Circle of François de Troy (Toulouse 1645 – Paris 1730) Portrait of a young lady (probably Marianne de Cogny, epouse de Philippe-Emmanuel de Beaufort...

High quality Fine Art Print, Hahnemuehle paper, limited edition, could be also delivered framed, certificate of SalamonArt, Giovanni Battista Piranesi,...

Animals Pompeian Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Aniello Cataneo in the 18th Century. Signed on the plate. Good conditions. The etching...

The Great Flood Flemish painter active in the 17th century Oil painting on canvas 52 x 70 cm. - In frame 76 x 95 cm This interesting seventeenth-century Flemish painting illustrate...

Giacomo Stella (Brescia 1545 - Rome 1630) - Allegory of Time Indicating Truth, Oil painting on canvas, 192 x 74cm. - in golden frame 198 x 81 cm. The work is accompanied by a critic...

Artist: Unknown (Likely French, 18th Century) Title: "La Femme Muse" *No signature found Circa: 1780 Medium: Original Pastel Drawing on heavy laid paper Frami...

Oil Lamp With Hercules and Animals from "Antiquities of Herculaneum" is an etching on paper realized by Vincenzo Scarpati in the 18th Century. Signed on the plate. Good conditions....

Genesis 7 - Old Testament Story is an original Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The ...

The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Par...

Portrait of a young lady. wearing an ivory silk gown with gold brocade trim and a blue silk cloak, painted c. 1747. Circle of Thomas Hudson (1701-1779). Oval oil on canvas laid on to board in a giltwood frame. Provenance: Frost & Reed Ltd, June 1958 Private collection, Somerset UK The beautifully painted silk gown worn by the sitter bears the characteristics of the talented drapery painter Joseph Van Aken (c.1699-1749). Artists such as Thomas Hudson, Allan Ramsay, Henry Pickering, George Knapton and Joseph Highmore all used Aken’s exceptional talents in painting the silk clothes...

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...