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Renaissance Style Bust White Marble Italy XIX Century
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ARARAR0132766

Renaissance Style Bust White Marble Italy XIX Century

ARARAR0132766

Renaissance Style Bust White Marble Italy XIX Century

Renaissance style white marble sculpture depicting the bust of a child. The costume with its folds and finely carved sleeves with embroidery highlight the good sculptural ability of the anonymous artist.

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2,800.00€

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Oil on Canvas by Giuseppe Zais Italy XVIII Century
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ARARPI0131969

Oil on Canvas by Giuseppe Zais Italy XVIII Century

River Landscape with Shepherdess Child and Herds

ARARPI0131969

Oil on Canvas by Giuseppe Zais Italy XVIII Century

River Landscape with Shepherdess Child and Herds

Oil on canvas. The painting is accompanied by the expertise of two art historians, dr. Dario Succi and Dr. Federica Spadotto. Both confirm the attribution of the painting to Giuseppe Zais, "the master from Belluno unanimously recognized as one of the most original and genuine interpreters of the great landscape painting of the Venetian seventeenth century." In the landscape, under the branches of a tree that frames the left and with the background of blue mountains, a shepherdess and her little son stand out in the foreground, making their animals (sheep and cows) water from the river. the Zais, after an initial training in his native country at the school of his fellow countryman Marco Ricci, who moved to Venice in 1732, soon became part of the ranks of lagoon landscape architects, appreciated and hired for large decorative works in the palaces of the city. In the 1970s the Zais abandoned this production and chose to devote himself only to small works, which reflected an adhesion to the world of the humble and a contemplative dimension of the past, rarely subjects present in the paintings of important clients. The work presented here can be considered an example of this last creative phase, according to art historians in the 70s of the eighteenth century: the Zais proposes a rather barren foothill landscape, where the shepherdess followed by her little son play the their assignment, without any concession to an ideal beauty, but rather with a reminder of a precise, hard, simple real life, made up of effort and affection at the same time. Even the colors of the canvas enhance the artist's empathy for the world he depicts: the warm golden-brown tones of the landscape, illuminated by the blue of the distant peaks reverberating that of the sky, envelop the human and animal figures in the foreground, which they emerge thanks to material brushstrokes and brighter but not bright colors, especially in the fleece of animals and in women's clothes. Peculiar of the Zais are also the faces, round and full, with features that are repeated always identical in the peasant figures of his works, associated with turned bodies, dressed in clothes that look like papier-mâché. The work shows signs of restoration, although still on the first canvas. On the back there is an inscription in German with the name of the previous owner and the date "Christmas 1977". It is presented in a gilded frame from the early 1900s, with small cracks and lacks.

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7,800.00€

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San Sebastian by Francesco Curradi Oil on Canvas Italy XVII Century
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ARARPI0131970

San Sebastian by Francesco Curradi Oil on Canvas Italy XVII Century

San Sebastian

ARARPI0131970

San Sebastian by Francesco Curradi Oil on Canvas Italy XVII Century

San Sebastian

Oil on canvas. The beautiful painting shows the face of St. Sebastian, depicted up below the shoulders, from one of which, uncovered, a crossbow arrow appears (the typology is recognizable by the type of arrow, dyed red). The painting was probably commissioned for devotional reasons: Sebastiano, a military saint, is the protector of soldiers but above all of archers and crossbowmen, and the choice to paint the small red arrow refers to the commissioning of a member of this military group. The work is accompanied by the expertise of the art historian Maurizio Marini, a specialist in Baroque painting and the art of Caravaggio. Marini considers this small portrait of the saint to be an autograph work of excellent technical-stylistic quality by the painter Francesco Curradi, considered one of the protagonists of the renewal of Florentine painting in the first half of the seventeenth century. Trained in the Florentine workshop of Giovan Battista Naldini, an eclectic and refined artist, Curradi surpassed the master by entering into a morphological and conceptual update and, freeing himself from the sentimental and religious limits of the Catholic Reform, he was able to acquire a remarkable psychological subtlety and an extreme pictorial quality. His qualities earned him many commissions and his works can be found in many churches and collections in the Umbrian and Tuscan countryside. Curradi had Cesare Dandini among his pupils, who, due to his refined features, often posed as a model for the works of the master, as would have happened for this San Sebastian. On the other hand, the same model, as well as other details, are found in other known works by Curradi, allowing a valid comparison. The painting has been restored and relined. It is presented in a frame from the first half of the 20th century.

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5,200.00€

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Marble Bust Italy XIX Century
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ARARAR0125536

Marble Bust Italy XIX Century

ARARAR0125536

Marble Bust Italy XIX Century

Marble sculpture depicting the bust of a man. Signature of the author "F. Parisi" engraved at the base.

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2,400.00€

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Large Landscape with Hunting Scene Oil on Canvas 18th Century
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ARTPIT0001457

Large Landscape with Hunting Scene Oil on Canvas 18th Century

Deer hunting

ARTPIT0001457

Large Landscape with Hunting Scene Oil on Canvas 18th Century

Deer hunting

Oil on canvas. The painting is set in the woods near some architectural ruins and the focus is on the lively group of hunters dressed like knights and armed with swords and lances. They are delivering the final blow to the already wounded and dying deer with the help of dogs. The large format highlights the important commissioner. Restored and relined, it is presented in revival frame. 18th century.

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9,800.00€

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Large Landscape Wild Boar Hunting Oil on Canvas 18th Century
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ARTPIT0001449

Large Landscape Wild Boar Hunting Oil on Canvas 18th Century

Wild boar hunting

ARTPIT0001449

Large Landscape Wild Boar Hunting Oil on Canvas 18th Century

Wild boar hunting

Oil on canvas. The scene is set at the feet of a mountain on the river bank where a fisher is fishing and the focus is on a group of hunters dressed like knights and armed with swords and lances who are delivering the final blow to the already wounded and dying wild boar with the help of dogs. The large format highlights the important commissioner. Restored and relined. Revival frame.

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9,800.00€

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Terracotta Bust Of Madame Du Barry Europe 18th Century
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ARARAR0119522

Terracotta Bust Of Madame Du Barry Europe 18th Century

ARARAR0119522

Terracotta Bust Of Madame Du Barry Europe 18th Century

Terracotta sculpture of Madame Du Barry.

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3,000.00€

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Headless Stone Sculpture Italy
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ARARAR0093057

Headless Stone Sculpture Italy

ARARAR0093057

Headless Stone Sculpture Italy

Headless stone sculpture of a bishop.

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2,700.00€

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Arnoldo Soldini Country Glimpse
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ARTOTT0000546

Arnoldo Soldini Country Glimpse

ARTOTT0000546

Arnoldo Soldini Country Glimpse

Arnoldo Soldini. Oil on cardboard. Signed on the at the bottom on the right. The painting, depicting country houses seen from above, with snowy mountains and clouds in the background, belongs to the typical and exclusive landscape production of the important author from Brescia, who always depicts the native places known to him. On the back, a label of the Galleria Campana of Brescia from 1978. Since then it has been in a private collection. Presented in a beautiful contemporary frame.

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1,950.00€

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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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Pair Of Lion Sculptures in Carrara Marble Italy 19th Century
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ARARAR0094341

Pair Of Lion Sculptures in Carrara Marble Italy 19th Century

ARARAR0094341

Pair Of Lion Sculptures in Carrara Marble Italy 19th Century

Pair of finely sculpted Carrara marble lions supported by a not coeval patinated wood with marble effect.

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Giovanni Beltrami
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ARAROT0077813

Giovanni Beltrami

Madonna with Child

ARAROT0077813

Giovanni Beltrami

Madonna with Child

Oil on the table. In the center, on the edge of the red dress, there is the wording in ancient font "G.Beltrami fecit". Beautiful composition in neo-Renaissance style, the work can be traced back to the artist Giovanni Beltrami who, in the wake of the current in vogue in the nineteenth century that re-proposed the artistic styles of the fifteenth-sixteenth century, ventured into this table with a sacred subject. Milanese painter, illustrator and art critic, as well as a lover of glass painting and mosaic, Il Beltrami grew up in the Milan of the Scapigliatura, seeking with his style a mediation between modern trends and tradition. In the pictorial field he established himself above all as a landscape painter, but he was always considered an artist of great and varied talent, who included in his repertoire numerous works with a sacred subject, especially as a decorator of interiors and churches. The painting is presented in a beautiful coeval frame, a small chapel, gilded and with superior decoration.

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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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The figure is carved with the frame of the portal
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ARTART0000073

The figure is carved with the frame of the portal

ARTART0000073

The figure is carved with the frame of the portal

The figure of the innkeeper, is carved in the round and painted in polychrome, inserted in a portal carved vine shoots with vine leaves, golden gouache of a later period. The sculpture represents a host in the act of carrying a basket of fruit. The sculpture is well defined with a twist and expressiveness in the face. Shows an influence nordic; it is completely painted in polychrome, is clothed with the purple edges and belt, gold and green basket with branches of black grapes. The portal, which probably added to the end of the XVII century., it is made with vines that twine, creating a time of acute, starting from the two great heads of the baroque and ending in a face of the winged cherub. This part, probably born to a religious subject, is completely golden.

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2,780.00€

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Bust Of A Woman White Carrara Marble Italy Second Half 19th Century
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ARARAR0064537

Bust Of A Woman White Carrara Marble Italy Second Half 19th Century

ARARAR0064537

Bust Of A Woman White Carrara Marble Italy Second Half 19th Century

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

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4,800.00€

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Enea's escape from Troy, Oil on Canvas, 17th Century
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ARARPI0057135

Enea's escape from Troy, Oil on Canvas, 17th Century

ARARPI0057135

Enea's escape from Troy, Oil on Canvas, 17th Century

Oil on canvas. The whole scene played on the chiaroscuro of black and red with high flames that blazing between towers and peaks of the cyty: in the frontground Enea and his father Anchises' figures with his son Ascanio next to him while running away from the city; on the right, in the background, Trojan horse. Even if the subject is close to the one of Alessio De Marchis (1684-1752), the painting in question is closer to the femish painting. Restored and displayed in an ancient frame.

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9,200.00€

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Alessandro Papetti Dock Contemporary Art 12 2014
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ARTCON0000751

Alessandro Papetti Dock Contemporary Art 12 2014

Pier 12, 2014

ARTCON0000751

Alessandro Papetti Dock Contemporary Art 12 2014

Pier 12, 2014

Oil painting on canvas. Signature and date in the lower right corner. Further signature and title on the back. Alessandro Papetti was born and studied in Milan where he currently works. He began to exhibit his works in the 80s. He exhibits both in Italian and foreign galleries, in Europe and in the United States. Since 1995 he has been working between Milan and Paris. Papetti's artistic production is divided into main themes: he painted a series of portraits during the 80s-90s, then he dedicated himself to the finds, the industrial archaeology and the water cycle in the 21st century. Lastly, he painted landscapes, interiors and a series of shipyards. This painting belongs to the last works. Industrial harbors, big boats and ships depicted in their greatness and fragility with frenetic and mushy brush strokes. Presented in frame.

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