selected

Art

In evidence

Price

900 € 18000 € Apply

dimensioni opera


31 cm 226 cm

28 cm 183 cm

2 cm 77 cm
Apply

selected

Art

Section Selected Art: the best our catalogue of paintings, sculptures works's art.

 

sort by

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500
SELECTED
news
SELECTED
ARARPI0097145

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500

ARARPI0097145

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500

Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.

Call

Price on request

Call
Cain And Abel Oil On Canvas 17th Century
SELECTED
SELECTED
ARARPI0097956

Cain And Abel Oil On Canvas 17th Century

ARARPI0097956

Cain And Abel Oil On Canvas 17th Century

Oil on canvas. Central-Italian school. Of great scenic impact, the painting tells the episode of the Book of Genesis whose protagonists are the brothers Cain and Abel, the first sons of Adam and Eve and therefore the first born from human loins. Cain, a farmer, since God had refused the fruits of his harvest in favour of the lambs sacrificed by the shepherd Abel, kills his brother. The two thus became respectively the first man to be born and the first to die, as well as the first martyr in sacred history. They are also considered as the archetype of fratricide: their story has been widely told in literature and pictorial art mainly in this capacity. In the painting proposed here, which depicts the culminating and tragic moment of the killing, the two figures fill up the scene, like two contrasting figures: Cain is standing, with dark skin and hair, a grim look, animated by intense heat as he raises his club ready to strike; Abel is on the ground, vainly trying to protect himself, pale in his already mortal complexion, his eyes wide open in an expression of terror. The particular effectiveness of the faces, especially Abel's in the skilful perspective, refers to the work of Giuseppe Diamantini (1621-1705). Between the two bodies, the light of the bonfire shines, which refers to the sacrificial pyre further back on the left, from which an intense fire blazes, a symbol of the divine presence from which the act of Cain can not escape. The rendering of the draperies that follow the movements of the bodies is also effective. Restored and relined, the painting is presented in a decorated frame in style.

Call

Price on request

Call
Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600
SELECTED
SELECTED
ARARPI0094654

Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600

Flowers Garland With Annunciation To The Shepherds

ARARPI0094654

Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600

Flowers Garland With Annunciation To The Shepherds

Oil on canvas. Refined quality and in excellent condition, the painting depicts a garland of colourful flowers that frames the Gospel scene of the Annunciation to the shepherds. The piece is accompanied by the expertise of Dr Gianluca Bocchi, who attributes it to the production of Francesco Caldei, known as the Mantovano from the name of his hometown. The Mantovano studied arts on Rome, where he stayed between 1613 and 1625, acquiring an education as a flower painter. His production consists, in fact, mainly of vases with flowers. He later moved to Venice, where he stayed until his death. The Mantovano imported the Roman pictorial canons into the city, in particular the taste for botanical representation, but also for the type of garland, that the Roman artists had drawn from the Flemish tradition. The production of garlands included a representation of figure scenes, with mythological or sacred subjects, often produced with figure painters, to whom the Mantovano did not disdain to resort. The scene of the Annunciation to the shepherds of this painting refers quite faithfully to the homonymous piece by Jacopo da Bassano (1515-1592), whose bucolic production was so successful that it was proposed again in numerous copies by his own sons and in many engravings circulating throughout Europe, who allowed other artists to draw inspiration from them, as the Mantovano probably did himself. It can therefore be concluded that the piece presented here is a painting by Francesco Mantovano realized in Venice around 1640-1650. The painting has been relined in antique. It is presented in a frame from the 18th century, adapted and gilded again. On the back, there are labels that document the passage of the piece on the French market of the 19th century.

Call

Price on request

Call
Xavier Bueno
SELECTED
SELECTED
ARARCO0093033

Xavier Bueno

Boy, 1966

ARARCO0093033

Xavier Bueno

Boy, 1966

Oil on canvas cardboard. Signed lower left. Further signature, date and title on the back. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

Call

Price on request

Call
Giovanni Baglione, attributed to
SELECTED
SELECTED
ARARPI0087707

Giovanni Baglione, attributed to

Herodias receives the head of the Baptist

ARARPI0087707

Giovanni Baglione, attributed to

Herodias receives the head of the Baptist

Oil painting on canvas. Inspired by the Gospel accounts of the life of John the Baptist, the scene depicts Queen Herodias receiving the preacher's head on a plate, which her daughter Salomé had requested from Herod in exchange for her dance. Herodias is depicted here in all her royalty, with the crown and the scepter, dressed in clothes and jewels, but with an aloof and indifferent expression, almost bored, even in front of the macabre spectacle, while making the gesture of disdainfully pushing away the trophy that a servant is handing her on a platter. The work, already auctioned by Dorotheum in 2008, was published and well described in the text "Art history studies in honor of Fabrizio Lemme", published in 2017, in the chapter by Michele Nicolaci (historian of expert art of seventeenth-century painting), which presents it as an unpublished painting by Giovanni Baglione. He was a Roman artist and writer, known above all for having written "The lives of painters, sculptors and architects from the pontificate of Gregory XIII of 1572 up to the time of Pope Urban Eighth" in 1642, the first published collection of artist biographies in 17th century Rome. His writing "The nine churches of Rome", published in 1639, is also of considerable importance. His pictorial activity took place between Rome and Naples; initially of a late mannerist style, when he met Caravaggio, he adapted to his style almost reaching imitation, so much so as to arouse the indignation of Merisi and his derision, as well as the scarce consideration of his Roman colleagues; isolated and insulted, Baglione then returned to his own personal style, but he was nevertheless able to achieve good success in Roman high society, thanks also to his ability to gain favor with the powerful and reinvent himself as a man of letters in the Barberini court. His stylistic turning point with the return to a mannerist approach took place around 1630 and was defined in a production characterized by compositional forcing and almost caricatured characters. This Herodias can also be placed in this period: although in the redundant and excessive, almost ironic way of portraying the character, this work does not lack elegance, in the theatrical pose of the woman, but also of the servant, in the skilful game of contrasts. chromatic (in the dress of the queen, but also in the differences between the incarnates), in the overabundance of clothes and jewels. The canvas has been restored and relined. It is presented in a gilded frame from the late 19th century. Publication attached to the painting.

in Cart

10,800.00€

in Cart
Camillo Procaccini, area of
SELECTED
SELECTED
ARARPI0076629

Camillo Procaccini, area of

Adoration of the Shepherds

ARARPI0076629

Camillo Procaccini, area of

Adoration of the Shepherds

Oil painting on canvas. The scene of adoration develops around the centrality of the Holy Family, towards which various shepherds and shepherdesses converge, with flutes, sheep, dogs; among them also, in the upper left, another family arriving on a donkey's back, almost an anticipation of the flight into Egypt; at the top right, outside the building, you can see an angel announcing the birth to other shepherds. The work, of beautiful quality, is identical in subject to the painting preserved in the Civic Museums of Pavia, donated to the city in 1838 by the legate Malaspina and also referred to the area of Camillo Procaccini. Ours is also almost identical in size to the twin of Pavia, if not for a few more centimeters attributable to the increase in the size of the frame being restored, which involved the need for a "stretching" of the canvas along it. the edge, as evidenced by an edge analysis. This analogy of subject and size, as well as the same temporal location, argue in favor of the two paintings belonging to the same workshop. Both, however, refer to the "Adoration of the shepherds" of sure autograph by Camillo Procaccini, one of the most vivid of his production, preserved in the church of Sant'Alessandria in Zebedia in Milan, which although with an evident difference in the more vertical development and in the arrangement of the figures, has the same scenic setting and the same way of making the other two twin canvases. The compositional equality of the central group of the Holy Family stands out above all, as well as the same identity of some characters, such as the shepherd boy with the dog in the lower left corner, but also the face of a flute player, that in the background on the right in the twin works with the one almost hidden on the left in the work of S. Alessandro. In the work proposed here as in the twin of Pavia, the evident realism of the scene that details the roles of the characters, the intense plasticity of each figure, never static even when it is still and intertwined with the others in a game of overlapping and color contrasts , the background scenes for didactic purposes, are well placed in Procaccini's adhesion to the Counter-Reformation program promoted by Cardinal Borromeo in Milan, where the Parma artist lived and worked for a long time. The painting has been previously restored and relined.

Call

Price on request

Call
Scope Of Lorenzo Lippi Oil On Canvas 17th Century
SELECTED
SELECTED
ARTPIT0001627

Scope Of Lorenzo Lippi Oil On Canvas 17th Century

Saint Rocco Confronted By The Angel

ARTPIT0001627

Scope Of Lorenzo Lippi Oil On Canvas 17th Century

Saint Rocco Confronted By The Angel

Oil on canvas. The big scene representsa moment of the life of Saint Rocco, the French peregrin and miracle worker that is considered one of the most invoked saints, from the Middle Ages onwards, as the protector from the terrible scourge of the plague and later from all the scourges and catastrophies that afflicted humanity. Even now, in 2020, during the pandemic, the Saint has been the recepient of prayers and invocations to protect from the virus in many Christian communities in the world. The Saint is pictured during his imprisonment, that will lead him to death, that he underwent in Voghera during his return from Italy to France, with the accusation of espionage because, miserable and tattered, he hadn't been recognized by anyone, and he could not justify his passage through tormented and suspicious lands. There are many of the iconographic attributes of the Saint in the piece: he is only wearing a cape, the sandals and the buckle that holds his bottle tied to his chest; at his feet, there is the cloak and the cane of the peregrin; on his right, a dog with a piece of bread that, accirding to the legend, the animal was stealing from the canteen of a rich merchant to feed the sick Saint; on his left thigh you can see the lesion, sign of the illness the struck him. The piece is attributed to the scope of Lorenzo Lippi (1606-1684), Tuscan artist from 17th century, recognizable from the dry style and inspired by reality, but in particular for the poses and the peculiar anatomical conformations of the figures he painted: you can confront the close correspondence between the angel of this painting and the one in the Sacrifice of Isaac, preserved in Saint Lucia of Montecastello, but even the posture of Isaac, sitting but reclined back with his legs open like Saint Rocco. in a pose that seems to belong to the production of the artist specifically. We know that the production of Lorenzo Lippi, who was not only a painter but a literatus as well, was almost complitely dedicated to the religious and devotional subject, painted not only for the public clientele (city and country Churches), but for private clients as well; even in the production of portraits, that were the reason for his trip to Innsbruck as the Court painter, the subjects of the paintings were often included in sacred scenes. For centuries, the figure of the artist Lippi had few acknoledgements, and he was criticized for being "too determined" in remaining faithful to his style, made of a "pure and simple imitation of nature", as if he was an artist with no creativity and not very inclined to embrace the pictorial novelties introduced in the artistic scene; in particular the flair of the Baroque is missing from his production as well as the adhesion to the taste of the Court of the Medici, based on splendour and the sensuality of the models, remaing tied to the archaisms of the previous century, in particular to the ones of Santi from Tito, to remain close to the religious feeling of the Florentine people and its confraternities. His compositions, however, respond to the precise balance, both formal and narrational, with scenes lit ina clear manner, with a drawing that is almost from the Renaissance, with plastic postures that highlight the feeling of the character well, with clear characterizations of the faces and the hands, that are always busy in an explicit gesturality, demonstrative of the contents of the scene. The painting proposed here, already restored and reframed, is presented in a frame in style.

Call

Price on request

Call
Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century
SELECTED
SELECTED
ARARPI0057281

Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century

ARARPI0057281

Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century

Oil on canvas. Lombard school. The painting portrays the two saints sitting on rocks in the shadows of leafy trees, while they break bread, in the foreground on the left; Saint Paul is traditionally dressed with animal skins, Saint Anthony Abbot is wearing the habit of the Order and he is holding a prayer book. The two Saints have often been represented together becasue they share many traits: they both lived in the third century, they are both Egyptian, they both left all of their properties very young to devote themselves to a life of complete solitude, living in prayer and poverty. Saint Anthony Abbot has been one of the most famous hermits in the history of the Church. Saint Paul the Hermit lived all of his life in complete solitude in the desert as well, fed only with the bread a raven would regularly bring to him, according to hagiographic narratives. When he was closer to death, Saint Anthony Abbot visited him, with whom he broke bread. In this representation, the landscape context doesn't remind of the desert lands of Egypt, but they are located in a Nordic or Alpine landscape. On the left, there is an eremitical landscape, with some green and a small stream bottom right. The painting, already restored and recanvased, presents evident craquelure. Frame in style.

Reserved

7,400.00€

Reserved
Painting by Arman 10000 Cendrillons 2003
SELECTED
SELECTED
ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

in Cart

10,000.00€

in Cart
No Title by Arman Jeté 2003
SELECTED
SELECTED
ARTCON0000755

No Title by Arman Jeté 2003

Jeté

ARTCON0000755

No Title by Arman Jeté 2003

Jeté

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

in Cart

5,200.00€

in Cart

"This site or third-party tools from this used use cookies necessary for the operation and useful to the purposes outlined in the cookie policy. More information.<\/span><\/a><\/u><\/strong>" OK