Art on Sale

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

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...

This interesting grisaille […] of a high standard of quality and in an excellent state of conservation, represents an interesting derivation with slight variations from an engraving,...

Oil Lamp is an Etching realized by Vincenzo Campana (1730-1806). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercola...

Up for sale is the original antique 17th/18th-century oil painting on canvas - Dark composition with the Genre Scene with Figures in a Tavern: the male figure wearing a cap is seated smoking a pipe. A second figure in the back holding a tankard looks over the seated figure's shoulder. No visible signature. The painting is in good/antique condition and has stable craquelure. Relined. Nicely framed. Please see the photos, the photos are part of the description. Framed measures 23" x 20", Painting measures 19.5" x 16.5" _________________ We sell vintage...

Ancient Still Life from the series "Antiquities of Herculaneum", is an etching on paper realized by Vincenzo Campana in the 18th Century. Signed on plate. Good conditions except fo...

Pair of angels with floral garland and cartouche with family motto 'Pulchriora latent' Workshop of Carlo Maratta (Camerano, 1625 - Rome, 1713) Dated on parchment, right: 1697 oil on the table (94 x 84cm./ in frame 105 x 95 cm.) This magnificent composition, depicting two little fluttering cupids intent on holding up a garland of flowers, can be traced back, both for the stylistic characteristics and for the compositional taste, to a master active in the fervid seventeenth-century Baroque Rome. One of the two cupids is about to grab the bow of the garland with his head facing downwards, while with the other hand he shows a parchment which bears, in addition to the date of execution, the Latin expression "Pulchriora latent" ("The the most beautiful things...

Diana and Young Shepherd Endymion from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Billy in the 18th Century. Signed on the plate. Good conditions with s...

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....

Hunting Cupid from "Antiquities of Herculaneum" is an etching on paper realized by Roccus Pozzi in the 18th Century. Signed on the plate. Good conditions. The etching belongs to ...

Rhetoric In The Roman Empire from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions with some f...

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represen...

Landscapes With Monuments is an Etching realized by Luigi Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antich...

Roman Rite and Landscape 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 foldi...

Oil Lamp With Animals Head from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Guerra in the 18th Century. Monogrammed on...

Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with foxing, due to the time. ...

Ancient Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions with foxing, due to...

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

Goddess Flora with Garland from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate...

Old Master Drawing by the Circle of Lambert Lombard. Drawing/ Study of a Man in Renaissance Style, later signed "F. Floris". Study of a Man Lombard li...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

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...

Guardian Angel from "Antiquities of Herculaneum" is an etching on paper realized by Ferdinando Campana in the 18th Century. Signed on the plate. Good conditions with foxing, due to...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Oratij in the 18th Century. Signed on the plate. Good conditions. ...

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

Painter active in Lombardy, in Milan, in the seventeenth century Circle of Camillo Procaccini (Bologna 1561 - 1629 Milan) St. Matthew and the Angel ...

Guido Cagnacci (Romagna, 1601 - Vienna, 1663) workshop / attributable Quality work depicting David with the head of Goliath (or the Triumph of David) oil painting on canvas Dimensio...

Hunting the Bear is an old master artwork realized by Jean Jaques Flipart (1709 - 1782) in the late 18th Century Sheet dimensions 37.5 x 52 cm Title printed on plate.

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture...

Ancient Roman Scene from Herculaneum is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions. The etching belongs to the prin...

Ancient RomanFresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching bel...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Oratij in the 18th Century. Signed on the plate. Good conditions. The e...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is anetching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good conditions. ...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Raffaele Barone in the 18th Century. Signed on the plate. Good conditions. The...

Giacomo Stella (Brescia 1545 - Rome 1630) Allegory of Wisdom (or prudence) Oil painting on canvas 193 x 75 cm., In frame 199 x 82 cm. The work is accompanied by critical study drawn...

Carraccesque school of the late sixteenth century Francesco Brizio (Bologna, 1574 - Bologna 1623) attributed Mystical marriage of Saint Catherine of Alexandria Oil painting on canvas cm. 124 x 97 - in a fine antique frame cm.158 x 132 Catherine, the erudite princess of Alexandria who lived in the third century, is depicted here in the best known episode about her, or her "Mystical Marriage", symbolized by the wedding ring that Christ Child is about to place in the her hand. It is an iconography that was born in the fifteenth century and in many cases preferred over the more bloody martyrdom of the Saint with the wheel, and which served for a long time to visually translate the spiritual union of the faithful with God into a delicate allegory. The status of the bride of Jesus is testified by the sumptuous dress and the magnificence of the jewels worn, including a crown that collects the hairstyle, emblem of her royal dignity, a necklace that surrounds her neck and a precious brooch placed on the neckline. of the dress. Two sumptuous winged angels attend the scene who enliven the scene with their instruments, a lute and a cello, while a curious little cherub watches in flight from above, supporting a cloth of clear Veronesian ancestry. With regard to the stylistic canons of this beautiful composition, it is essential to point out that we are dealing with a work executed between the second half of the sixteenth century and the early seventeenth century, in which there are deep-rooted relationships with the pictorial examples of the Carraccis; the warm colors, the chromatic range is soft, the confident and detailed brushstrokes, are elements that, combined with the reminiscences of the Bolognese culture, lead us to place this valuable painting...

Ancient Roman Fresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching be...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions. T...

Ancient RomanFresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching bel...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Francesco Cepparoli in the 18th Century. Signed on the plate. Good condi...

Ancient Roman Fresco from Herculaneum , is an etching on paper realized by Vincenzo Campana in the 18th Century. Signed on the plate. Good conditions. The etching belongs...

Henry Pether, late 18th-century Moonlight lake Landscape. Born into a family of artists, Henry was the son of Abraham Pether (1756-1812), a talented la...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Chil...

Claude Vignon (Tours, 1593 - Paris, 1670) The Fortune Teller Oil painting on canvas (65 x 84 cm. - In frame 94 x 113 cm.) The work is accompanied by a critical study drawn up by prof. Emilio Negro (Bologna) The subject immortalized in this intriguing painting, called 'Good luck', is a scene of everyday life that we would have seen frequently in the crowded streets of central Rome at the time. The protagonists of the canvas are a young fortune teller and a well-dressed nobleman who lets himself be predicted by reading the hand. The gentleman, who listens curiously to the response and with a hint of malice holds his gold necklace in his hands, is in the meantime robbed by an accomplice of the woman, intent on taking the purse out of his pocket. Although this type of paintings were intended for the decoration of the residences of the Roman aristocrats, who with a hint of self-irony saw themselves in the figure of the unfortunate grullo, were actually harbingers of moralizing messages. Among the many proposals there was certainly the warning towards the desire to know one's destiny without respecting the priority of the divine will that determines it, relying for this on cunning charlatans. It must be said that, although more than four centuries have passed and certain dynamics have naturally changed, this subject appears extremely current. Clearly inspired by the Buona Ventura painted by Caravaggio, the painting is part of that line of scenes taken from the painter's favorite street life and which, given the collector's fortune already at the time, were often reworked by many artists, considered a stimulating theme and full of psychological implications. In particular, the work in question is attributed to the French painter Claude Vignon (Tours 1593 - Paris 1670), presumably to be placed during his years spent in Rome, before his return to Paris, showing the artist's masterful interpretation of the work conceived by Caravaggio. After his training in Paris by Jacob Bunel, one of the most famous masters of the reign of Henry IV, he moved to Rome around 1609-1610, being part of that large community of French painters, including Simon Vouet and Valentin de Boulogne...

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...

This painting (in an excellent state of conservation and of fine executive workmanship, attests to the enormous luck of Raphael's inventions in the years following his death: in fact...

Gypsum cast - medieval tile, from Central Europe. Adjusted in a frame, ready to hang or install.

Cornucopia of Cherries from the series "Antiquities of Herculaneum", is an etching on paper realized by Francesco Cepparoli in the 18th Century. Signed on the plate. Good condition...

Michele Desubleo (Maubeuge, 1602 - Parma, 1676) - attributable Portrait of gentleman like Solomon, the wise king Oil painting on canvas 120 x 141 cm., By gilded wooden frame cm. 134 x 162 cm. The beautiful painting shows us an image of the famous Solomon king, legendary biblical figure who became the personification of the good reigning over the centuries, and proverbially recognized as one of the wisest politicians in history. The features of the off are presumably those of the client of the work, who wanted to emphasize his image by impersonating a character with legendary fame. The reigning, with an elegant coron head of Corona of Eastern Foggia, is dressed in a sumptuous silk clothes...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions except f...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions except f...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions except f...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions ex...

Cupids from the series "Antiquities of Herculaneum", is an original etching on paper realized by Filippo de Grado in the 18th Century. Signed on the plate. Good conditions with som...