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29 cm 238 cm

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Antique Painting Still Life Oil on Canvas Italy XVII-XVIII Century
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ARARPI0141146

Antique Painting Still Life Oil on Canvas Italy XVII-XVIII Century

Still life with holes, fruit, a parrot and quail

ARARPI0141146
Antique Painting Still Life Oil on Canvas Italy XVII-XVIII Century

Still life with holes, fruit, a parrot and quail

Oil painting on canvas. Neapolitan school of the seventeenth-eighteenth century. The large composition is rich in numerous different elements: in the center stands a large floral composition, of multiple varieties in bright colors; on the left of the flowers, resting on a Doric capital, there is a budgie with bright colors contrasting with the dull ones of the dead quail lying on the floor below, together with some pumpkins and a pewter vase. The painting, restored and relined, is presented in a period frame. It comes from an important collection (Commendatore Arturo Stucchi, an entrepreneur from Como, is mentioned on the back).

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5,140.00€

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Antique Painting Mentore Silvani Oil on Canvas Italy 1872
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ARAROT0147772

Antique Painting Mentore Silvani Oil on Canvas Italy 1872

Snowy Landscape with Figures 1872

ARAROT0147772
Antique Painting Mentore Silvani Oil on Canvas Italy 1872

Snowy Landscape with Figures 1872

Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.

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9,500.00€

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Painting Love and Psyche Oil on Canvas Italy XVIII Century
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ARARPI0183429

Painting Love and Psyche Oil on Canvas Italy XVIII Century

Love and Psyche

ARARPI0183429
Painting Love and Psyche Oil on Canvas Italy XVIII Century

Love and Psyche

Oil painting on canvas. Northern Italian school of the 17th century. The scene refers, with some variations but very close in size, to a part of the large fresco entitled "Banchetto degli dei" in the Chamber of Cupid (or Chamber of Cupid and Psyche) of Palazzo Té in Mantua, a large representation of over nine meters made by Giulio Romano with his workshop in the 16th century. The proposed scene (which in Mantua is located to the right of the great banquet) sees Cupid and Psyche lying on a triclinium, while a small winged figure crowns them with laurel and two nymphs wash Cupid's hand; in the background on the right a group of satyrs is sacrificing a goat to the altar of a deity, while in the centre, in the distance, a city is burning. The banquet of the gods is the final moment of the myth of the two lovers who, after many trials and vicissitudes, obtain Venus'permission to get married. The work, restored and relined, is presented in an antique frame.

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6,170.00€

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Ancient Painting G. Muzzioli '800 Portrait Drunk Baccus Oil on Canvas
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ARAROT0198569

Ancient Painting G. Muzzioli '800 Portrait Drunk Baccus Oil on Canvas

Drunk Baccus

ARAROT0198569
Ancient Painting G. Muzzioli '800 Portrait Drunk Baccus Oil on Canvas

Drunk Baccus

Oil on canvas. Signed lower right. The god is depicted standing on the scene, clad only in a cloth around his loins and by ivy leaves placed on his hips and head, while holding a chalice in one hand; his gaze is vacant and dazed. Behind him, a semi-reclining putto plays with ivy. All around are white clouds, just as the ground is white, with flashes of blue sky and a green bush creating the only contrasts. On the back of the work is the label 'Mario Galli Collezione d'Arte', with cataloguing number 64 and the artist's autograph inscription. The work well represents the painting of this artist, who was born in Modena but trained artistically first in Rome and then in Florence, where he spent most of his life. His rich production initially proposed mainly historical subjects, but then turned to portraits and finally to landscapes. His uniqueness can be recognised in his ability to range from historical subjects, often placed in settings taken from ancient Pompeii, to the Macchiaioli-style naturalism of his second period, in which Muzzioli sought a significant perception of atmosphere and light in subjects inspired by the rural Tuscan environment, often set in antiquity. In this work, a portrait of a mythological character, the artist's luministic intent strongly transpires, the search for the effect of light playing on the naked bodies of the god and the putto, then fading into the background. The Art Gallery label leads back to the Florentine Mario Galli (1877 -1946), a sculptor who was also an important collector of works especially by Macchiaioli. The work shows an important crack and has been retouched. It is presented in a stylish frame.

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2,860.00€

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Oil on Panel 'Rape of Europa'
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ARARPI0180783

Oil on Panel 'Rape of Europa'

Pseudo Giampietrino B, 1530s-1540s

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Christian Orthodox Alabaster Icon
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ARARIC0257509

Christian Orthodox Alabaster Icon

(Ethiopia)

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Christian Orthodox icon on board
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ARARIC0257512

Christian Orthodox icon on board

(Ethiopia)

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Virgin of the Nativity, early 15th century
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ARARAR0204982

Virgin of the Nativity, early 15th century

Sculptor active in the Adriatic area

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Deposition of Christ in the tomb
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ARARPI0197806

Deposition of Christ in the tomb

Lombard painter (Giuseppe Meda?) ca. 1560-1570

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Drawing, Vault of the Hall of Eagles
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ARARPI0163830

Drawing, Vault of the Hall of Eagles

Domus Aurea Vincenzo Brenna

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Female figures by Francesco Conti
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ARTPIT0001710

Female figures by Francesco Conti

Heroines of Antiquity, 18th Century

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Madonna enthroned with Child between angels and saints
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ARARPI0156546

Madonna enthroned with Child between angels and saints

Santi di Tito (Borgo San Sepolcro 1536 – Florence 1603), ca. 1560-1570. Oil on the table

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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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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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