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2460 € 18000 € Apply

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33 cm 1120 cm

33 cm 338 cm

1 cm 55 cm
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Male Bust Marble Italy 1838
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ARTART0000188

Male Bust Marble Italy 1838

John Anthony Emanuelli, 1838
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Holy Family with Saint John
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ARARPI0125327

Holy Family with Saint John

Bartolomeo Ramenghi, school of, first half of the 16th century
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Enrico Baj animated mobile
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ARARCO0206630

Enrico Baj animated mobile

Made by Stefano Bini
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Pair of angels, Carlo Francesco Mellone (and assistants)
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ARTART0000098

Pair of angels, Carlo Francesco Mellone (and assistants)

Milan, ca. 1730
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Bust of Baron Antonio Negri
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ARTART0000177

Bust of Baron Antonio Negri

Gaetano Monti, 1837
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David and Abigail
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ARARPI0121676

David and Abigail

Vincent Malò, fourth decade of the 17th century
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From the lost fresco with allegory of Asia
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ARARPI0112621

From the lost fresco with allegory of Asia

Andrea Appiani
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Antique Painting Religious Subject Italy XVII Century
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ARARPI0108206

Antique Painting Religious Subject Italy XVII Century

XVII Century
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Antique Female Bust Marble Richly Decorated XIX Century
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ARTART0000155

Antique Female Bust Marble Richly Decorated XIX Century

Spring
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Antique Painting Signed Christian Georg Schütz I Landscape '700
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ARARPI0233328

Antique Painting Signed Christian Georg Schütz I Landscape '700

River Landscape with Shepherdess and Ruins

ARARPI0233328

Antique Painting Signed Christian Georg Schütz I Landscape '700

River Landscape with Shepherdess and Ruins

Oil on canvas. Signed " Schütz fecit" on the ruin to the right of the shepherdess. Christian Georg Schütz the Elder captures an idyllic and serene landscape, crossed by a winding and slow river; on the right bank stand some architectural ruins of classical structures, while in the foreground, seated in the center, serene and composed, a shepherdess spins wool while watching over her small flock of goats and cows. The painting is a hymn to nature, where the naturalistic elements, the earth, the sky, the river meet to form a harmonious and balanced scene, pervaded by pink light, in which the living figures and the architectural remains fit in with balance and calm. Schütz mainly painted river views of the Rhine and the Main, places he inhabited, and worked for important German clients, nobles and prelates. The painting has participated in several art auctions. Restored and relined, it is presented in a period frame.

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Price upon request

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Antique Painting Signed G. Canella Historical Subject 1840 ca.
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ARAROT0267791

Antique Painting Signed G. Canella Historical Subject 1840 ca.

Clash between Military and Guerrillas in Spain

ARAROT0267791

Antique Painting Signed G. Canella Historical Subject 1840 ca.

Clash between Military and Guerrillas in Spain

Oil on canvas. Accompanied by an expertise by Professor Fernando Mazzocca. The painting belongs to a series of works by the Veronese painter Giuseppe Canella set in Spain, following the artist's stay in that country between 1820 and 1823, which led him to stop in various Spanish cities, the last being Madrid where he frequented the court. From his travels around Europe, Canella brought back numerous drawings from which he took inspiration for the works later reworked in his studio in Milan, often then presented at the Exhibitions of the Brera Academy. In this work the reference is to a dramatic period in the history of Spain, marked by the constitutional uprisings against King Ferdinand VII of Bourbon, which provoked French intervention in support of the monarchy against the rebels. In reality, the historical event is almost a pretext for Canella to recall the harshness and charm of the mountainous landscape, which acts as a monumental backdrop to the clash between the army and the rebels, small and almost indistinct figures. The painting, in excellent condition, presents only very slight losses of color, already restored. It is presented in a contemporary frame.

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11,660.00€

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Antique Painting Signed G. Francesco Clipper Oil on Canvas '700
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ARARPI0266288

Antique Painting Signed G. Francesco Clipper Oil on Canvas '700

A Cherry Seller Being Courted by Two Musicians ca. 1720

ARARPI0266288

Antique Painting Signed G. Francesco Clipper Oil on Canvas '700

A Cherry Seller Being Courted by Two Musicians ca. 1720

Oil on canvas. The painting is accompanied by an expertise by the art historian Dr. Giuseppe Sava. The protagonist of the open-air market scene is a cherry seller, wearing a showy straw hat and sitting next to a basket of these fruits placed on a wooden bench, next to a stone on which the steelyard rests. With a smiling, almost winking look, turned towards the viewer, she is accepting the advances of the man who, behind her, is placing a hand on her shoulder, with a lascivious look, while two musicians on the left improvise a small concert. The composite and cheerful group harks back to the production of Giacomo Francesco Cipper, known as Todeschini (1664 -1736), a painter of Austrian origins but Lombard in training and pictorial style, who was a "singer of peasants, street vendors intent on their daily occupations or pastimes", a specialist in market scenes, open-air concerts, card players, scenes of humble daily life created with laughing caricatural forcing and a search for comic effect. Cipper drew this narrative style from the Danish painter known as Monsù Bernardo, who was active for a long time in Italy between Bergamo and Milan: in particular, from him came the predilection for everyday stories and humble characters, as well as the impertinent nature of such characters, who seek the attention of the observer by staring at him. In this painting too, the female protagonist fixes her mischievous gaze on the observer, smiling with complicity and irony at the courtship game in which the three men make her the protagonist, implying a "market" that is no longer just that of cherries. In his expertise, Dr. Sava underlines the stylistic and typological relations of this painting with other characters by Cipper, in support of the attribution; the stylistic evolution in the formal and technical aspects of his works is also explained - the colors that lighten, with an evident predilection for ochre, hazelnut, sage green, among which powder blue creeps in; the milky backgrounds, the softer luminosity and the less plastic chiaroscuro -, an evolution that allows us to place the work in his production of the early 18th century. The painting has been restored and relined. It is presented in an adapted antique frame.

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Louis Dorigny Attr. Oil on Canvas France XVII-XVIII Century
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ARARPI0148941

Louis Dorigny Attr. Oil on Canvas France XVII-XVIII Century

Erminia among the Shepherds

ARARPI0148941

Louis Dorigny Attr. Oil on Canvas France XVII-XVIII Century

Erminia among the Shepherds

Oil on canvas. The large canvas recounts an episode taken from the Gerusalemme Liberata by Torquato Tasso, in which the young Erminia, princess of Antioch secretly in love with Tancredi, witnesses the wounding of her beloved in a duel. Driven by love, she therefore wears the weapons of the warrior Clorinda, her close friend, and at night she goes out to reach her beloved Tancredi and heal him. But in the Christian camp a ray of moonlight illuminates her and, mistaken for Clorinda by the sentries, she is forced to make a hasty flight: this is how it happens in a village inhabited by shepherds who live far from the war in an idyllic space, where she asks and obtains to be hosted for some time in the (vain) hope of forgetting her unhappy love. The work, already attributed to Carlo Loth, is rather referable to the production of Louis Dorigny, the Parisian painter who lived for a long time in Italy, in Rome, in Venice and finally definitively in Verona, where he obtained numerous orders from Veronese but also from clients. Venetians and Lombards, extending his activity as a fresco painter from Bergamo to Udine. In Verona since the beginning of the century, the preferences in the field of painting went towards a complex classicistic language in the composition, but calm and elegant, even in the great decorative works. Dorigny conforms to this painting, who in this canvas combines the balanced classicism of Simon Vouet (of whom he was grandson) with the chiaroscuro he learned in Rome and the calm Venetian elegance. Restored and relined, the painting is presented in an early 20th century frame.

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6,200.00€

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Antique Candle-Holders Painted Wood Italy XIX Century
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ARARAR0240096

Antique Candle-Holders Painted Wood Italy XIX Century

Venice, Early XIX Century

ARARAR0240096

Antique Candle-Holders Painted Wood Italy XIX Century

Venice, Early XIX Century

Pair of candle holders resting on bases, Venice first half of the 19th century. Carved and lacquered Moors, dressed in mecca-gilded and multi-coloured robes and shoes; with their raised arm they hold a candle base, while in the other they hold a small plate. The two moors rest on the same number of lacquered octagonal bases, decorated with marbled elements and a pair of carved and gilded lion protomes. Dishes that are not contemporary.

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8,500.00€

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Antique Painting Gallant Scene French School XVIII Century
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ARARPI0196018

Antique Painting Gallant Scene French School XVIII Century

French school. Mid 18th century

ARARPI0196018

Antique Painting Gallant Scene French School XVIII Century

French school. Mid 18th century

Oil on wooden board. French School. Mid-18th century. The scene depicts a party in a park enclosed by walls with arched openings that open onto the countryside, and decorated on the right with an amphora on a small column and in the center, behind the figures, with a gushing fountain, with statues of cherubs and shells. Two couples of richly dressed ladies and gentlemen are gallantly entertaining each other, surrounded by servants; one of the men is playing the violin, crouched in front of his lady who, flanked by the damsel, follows the melody on the score held by the black man at her side, while two musicians accompany the playing with the flute and a mandolin; the other couple, in an attitude of intimate dialogue, listens on the left, while on the right the hunter returning from the hunt also observes the scene. The painting is presented in a period frame.

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10,170.00€

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Antique Painting Signed Maximilian Pfeiler Oil on Canvas XVII Century
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ARARPI0109333

Antique Painting Signed Maximilian Pfeiler Oil on Canvas XVII Century

Grapes, figs, pomegranates and peaches on a capital

ARARPI0109333

Antique Painting Signed Maximilian Pfeiler Oil on Canvas XVII Century

Grapes, figs, pomegranates and peaches on a capital

Oil on canvas. Signed ‘Max. PF.' on the upper frame of the capital. The still life consists of grapes, pomegranate and peaches placed on a capital, there is also a silver tray in the composition; in the background is a landscape with trees and ruins, on the left is a glimpse of a cerulean sky, barely veiled by clouds. Maximilian Pfeiler made a name for himself with his still lifes in which he placed an architectural fragment in the background of the flowers and fruit, already introducing the taste for ancient ruins that was to become fully established in the 18th century. The painting has been retouched and restored (minor repainting). It is presented in a frame.

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12,060.00€

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Antique Painting Religious Subject Oil on Canvas 1750 ca.
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ARARPI0178558

Antique Painting Religious Subject Oil on Canvas 1750 ca.

Penitent Magdalene, ca. 1750

ARARPI0178558

Antique Painting Religious Subject Oil on Canvas 1750 ca.

Penitent Magdalene, ca. 1750

Oil on canvas. The figure of Mary Magdalene is represented here, as per tradition, with long red hair; with a gesture of painful dedication she fixes her gaze on the crucifix, which she holds with her left hand pressed against her right arm, which in turn is folded in a sign of collected penitence. The whole body is rendered with a splendid counter-twist, which has the effect of making the viewer feel the tension of the moment experienced by the saint. On her left is visible the skull, her traditional attribute, and in the background one can glimpse the outline of the cave in which she is placed. The part of the body emerges, thanks to the intense luminosity of the arms, connected to the red ochre shades of the hair and face, thus also accentuating the erotic character of the scene, recalling the exuberant painting of Rubens, which had a great influence on Crespi's work. This captivating and delightful figure of the Magdalene follows the widespread trend in the 17th and 18th centuries to depict saints with an undertone of human sensuality, revealing the patrons' preference for sacred themes imbued with profane elements. The painting, restored and relined, is presented in a late 19th-early 20th century frame.

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16,060.00€

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Pair of Antique Paintings on Slate Religious Subject XVII Century
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ARARPI0233382

Pair of Antique Paintings on Slate Religious Subject XVII Century

The Penitent Magdalene and St. John the Baptist

ARARPI0233382

Pair of Antique Paintings on Slate Religious Subject XVII Century

The Penitent Magdalene and St. John the Baptist

Oil on slate. Two examples of oil painting on stone are proposed here, a pictorial genre that was particularly popular in the Venetian Republic between the 16th and 17th centuries, in its form of oil painting on blackboard or touchstone. The choice of such a dark stone as a background is not only linked to practical reasons (the proximity of the mines of Brescia and Val Brembana), but, as our two works clearly demonstrate, the emergence of the figures from the dark background responds to the light also full to the new needs of the painting of the time, which in the climate of the Counter-Reformation, tended to express not only the idealized existential certainties of the full Renaissance, but also the anxieties and the opening up to new phases, already tending with Tintoretto towards greater attention to reality and luministic contrasts, to then flow overwhelmingly into seventeenth-century research strongly focused on the contrasting combination of light and shadow. The two works presented here, well within the production of the Venetian area of ​​the first decades of the 17th century, propose two figures of saints, both hermits, placed on a dark, barely visible naturalistic background. The figure of Magdalene emerges from the darkness, leaning to follow the curve of the stone support; she is depicted looking questioningly towards the darkness, as if in a listening attitude, her left hand raised and the other resting on the remarkably shortened "memento mori". In front of her a scourge and the jar of ointment. Painted en pendant, Saint John the Baptist is represented as a young man, with a lamb at his feet, in his hand the processional cross with the banner "ecce agnus dei", while with his right hand he draws from the water source, recalling the episode that will see Jesus Christ baptized. In both paintings the figures stand out in a strong and incisive way thanks to the black that characterizes the slate plaque on which they are depicted. The two paintings, in an oval format, are presented in black wooden frames, from the late 19th century.

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16,000.00€

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Antique Painting Jesus Christ and the Adulteress Flemish XVI Century
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ARARPI0235790

Antique Painting Jesus Christ and the Adulteress Flemish XVI Century

Flemish School, XVI Century

ARARPI0235790

Antique Painting Jesus Christ and the Adulteress Flemish XVI Century

Flemish School, XVI Century

Oil on wooden board. Flemish school of the 16th century. The work has a plaque at the base attributing it to Lambert Van Noort (1520 -1571), justified by the closeness to his pictorial methods which can be found in the faces of Jesus and Magdalene, but not confirmable for the other parts of the painting. The work recounts the episode from the Gospel of John in which the scribes and Pharisees brought a woman accused of adultery to Jesus, to test her observance of the law of Moses, which included stoning. But Jesus, bending down to the ground, began to write with his finger in the dust, then when urged, he pronounced the words "Let anyone among you who is without sin cast the first stone", saving the woman and subsequently forgiving her. The large stage is filled with a large and tight group of characters. Jesus in the centre, is the only figure bent on the ground, estranged from the rest of the group and fixed in his gesture of writing with one finger; standing behind him, with a precise vertical alignment of her face with that of Christ, is the accused woman, who covers her body with her cloak observing Jesus' gesture, while awaiting the sentence; all around the scribes, the Pharisees, some soldiers, who instead speak animatedly among themselves, are agitated, confronting each other, indicating what Jesus is doing. The subject was widely represented in Flemish painting, with different interpretative methods. If in this painting the Flemish school is clearly perceived in the faces with hard features and in the rather rigid bodies in the movements of the scribes and Pharisees, as well as in the representation of the building in the background and in the meticulous representation of the shoes in the right foreground, the two The figures of Jesus and the woman are instead affected by the Italian influence, which softened the features of the faces, gave the movements of the body greater composure and gracefulness, and with the help of a brighter color made them stand out among the other figures. The panel of the painting was subjected to restoration and relined in the first half of the 20th century. The painting is presented in an adapted antique frame.

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12,170.00€

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Modern Drawing C. Bravo Camus Chiquito Futbolista de Tanger 1982
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ARARNO0235215

Modern Drawing C. Bravo Camus Chiquito Futbolista de Tanger 1982

Chiquito Futbolista de Tanger 1982

ARARNO0235215

Modern Drawing C. Bravo Camus Chiquito Futbolista de Tanger 1982

Chiquito Futbolista de Tanger 1982

Sanguine on paper. Signed and dated in Roman numerals lower right. The title at the top right. Claudio Bravo Camus was a Chilean painter who established himself above all for his compositions (particularly parcels) and hyper-realistic portraits, including those of eminent political figures. Rightly considered one of the greatest masters of hyperrealism, Claudio Bravo pursued photography in painting, but always starting from the direct observation of the objects themselves: "The eyes see much more than the camera: half tones, shadows, minute changes of color and lights,” he said. The portrait presented here, that of a well-known Moroccan football player, exudes a meticulous and mimetic realism, particularly in the man's gaze; it was created during the years in which the artist lived in Tangier, where he had taken refuge to escape Franco's dictatorship. It is presented in a frame.

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3,940.00€

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