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Painting by Arman 10000 Cendrillons 2003
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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.

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5,000.00€

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Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century
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ARARPI0097148

Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century

ARARPI0097148

Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century

Oil on canvas. North-European School. This is a funny allegorical scene of profane love, that wants to prove how everyone, of any social class and every age, can fall into the trap of falling in love. The background of the canvas is occupied by an enormous keepnet, the basket net used in some kinds of fishing, above its opening sits a putto playing the violin; the keepnet is crowded with couples, while a parade of other couples walks in front of them to reach the entrance. Between them, there are couples of old and young people, rich and poor people, nobles, bourgeois and proletarians. Everyone has a content and light expression, they share looks of love or they benevolently look at the happiness of the others. Inside the keepnet, there is even a couple of royals, that correspond, for their features and clothing, to the Elector Palatine of Rhineland, John William of the Palatinate-Neuburg and his second wife Anna Maria Luisa de' Medici. On the back of the painting, there is a label bearing a historical attribution to Jan Frans Douven (1656-1727), the Dutch artist who moved to Düsseldorf in 1682 as the official painter at the Court of the Elector Palatine of Rhineland, mostly representing scenes of the daily life of the prince and his second wife. The label would confirm the scope of the attribution to an artist of the 17th-18th century in Northern Europe. The painting comes from a historical collection in Milan. It shows some traces of restorations and a patch. Frame in style.

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Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century
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ARARPI0100957

Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century

ARARPI0100957

Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century

"Tempera grassa" on canvas. North Italian School. It is believed that the first large pieces were part of the decorative apparatus of a big palace. The technique used, a greasy tempera applied on canvas with a really light preparation and a quick hatching without precise references to the figures, underlines the fast execution, aimed at obtaining pieces for purely decorative purposes in a short time. The four portraits depict the figures of kings, recognizable by different royal attributes (crowns, sceptres, royal garments), but represented as commanders, with armours and/or weapons. The peculiarity is that the characters belong to different eras and places, as if it was an homage to the great royal figures of history. The identification of the characters is uncertain, although it is possible to hypothesize some names: the king with the poor metal crown, but with very pointed cusps, who holds a sword with a hilt in the shape of a bird's head and who is covered with a mantle of rough cloth and a simple armour from which fur elements appear, could be Attila, king of the Huns; the oriental figure, with a turban adorned with precious gemstones, could be an Ottoman sultan, such as Suleiman; the warrior with the Ancient Greek armour, with the helm surmounted by a dragon and a breastplate richly decorated with friezes, could be Alexander the Great; lastly, the young king in a full plate armour and the crowned "hat of arms" helmet, used during the late Middle Ages, refers to a 15th century ruler, who is placed in one of the royal families derived from the Sacred Roman Empire by the necklace with the imperial eagle. The four paintings, still in their original canvas, show signs of restorations and integrations, with some small patches on the back. They come from a historical collection from Bologna. They are presented in frames in style.

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Lament Over The Dead Christ Oil On Canvas North Italy School 1600
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ARARPI0094514

Lament Over The Dead Christ Oil On Canvas North Italy School 1600

ARARPI0094514

Lament Over The Dead Christ Oil On Canvas North Italy School 1600

Oil on canvas. North Italian School. Inserted in a late Renaissance landscape, the composition of the figures is arranged according to an ascending diagonal towards the left and more precisely culminating with the three crosses on Calvary in the distance; the body of Christ is in the middle, lying, albeit also obliquely, behind him there are three figures: St. John, Mary in the centre, and a pious woman, the only one depicted in seventeenth-century clothes- probably a portrait of a person close to the client. The piece can be placed in the Lombard-Venetian cultural production of the first half of the 16th century, more precisely in the pictorial activity that flourished between Brescia, Garda and Verona, which found its maximum expression in the mannerist ways of Giovanni Demio (1500-1570 ca). In particular, some elements are found in the piece, especially in the shapes of clothing and poses (for example of Saint John), which refer to models of Raphaelesque mold that were widely used, thanks to the mediation of engravers such as Marcantonio Raimondi (1480 -1534 ca ), who contributed to the distribution of the pieces of the masters. The painting, restored and relined, has extensive renovations. It is presented in an antique frame, that can be dated around the 17th century, repainted.

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4,600.00€

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Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500
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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.

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Xavier Bueno
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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 the group of "Modern Painters of Reality" with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. , whose manifesto proposed an "objective" observation of the 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 depicted 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.

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

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7,400.00€

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