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Contemporary Painting C. Barbieri Female Work Italy 1954 ca.
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ARARNO0076630
Contemporary Painting C. Barbieri Female Work Italy 1954 ca.

Large Painting, 1954 ca.

ARARNO0076630
Contemporary Painting C. Barbieri Female Work Italy 1954 ca.

Large Painting, 1954 ca.

In the foreground, a group of female figures is depicted, in which there is only one male figure, however relegated to the background. On the right are two girls facing each other, the one further away is drawing, while the one seen from behind, at whose feet a cat is sitting, is intent on painting on a canvas placed on an easel. He is observing the model to be portrayed: two young girls dressed in old-fashioned clothes, one seated, semi-dressed in a long white cloak which also covers her head and her partner, kneeling in front of a basket full of fruit and vegetables. Alongside another small group, more heterogeneous. A young woman dressed in white is watching a little girl who seems to be running towards the girl on the far right, dressed in country clothes and carrying a basket of fruit under her arm. Among these, leaning against a tree, there is a woman also dressed in a peasant style who holds a small skin in her hands, next to her the only male figure supports himself on a shepherd's stick. In the background a natural landscape with a hilly profile, dotted with trees, but also with characters caught in rural activities such as harvesting and sowing. Immersed in nature there are also rural houses, but also industrial buildings with tall chimneys and more modern constructions, such as the mighty arch, which almost acts as an architectural backdrop on the left of the painting. Signed “C. Barbers” on the right.

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Antique Painting Historical Subject Oil on Canvas Italy XIX Century
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ARAROT0132005
Antique Painting Historical Subject Oil on Canvas Italy XIX Century

ARAROT0132005
Antique Painting Historical Subject Oil on Canvas Italy XIX Century

Oil on canvas. Mid 19th century. The large scene tells an unidentified historical episode, set in the Renaissance period, in which an archbishop listens to the plea of a young man in arms, accompanied by his mother, who supports his plea. The setting is inside the reception hall of the high prelate, presumably in the bishop's palace, which from the loggia in the background overlooks the Cathedral, whose dome can be glimpsed; the bishop is surrounded by his subordinates and guards, while different people of the people attend. Particular is the presence of the man sitting in the foreground on the left, who looks towards the viewer and points to the scene, as if he were telling it. The atmosphere is played on the contrasts between lights and shadows, between the bright colors of the dominant characters compared to the dull and suffused tones of the surrounding figures, who literally tend to disappear into the shadows at the limits of the scene. The work is part of that large nineteenth-century production that drew on the historical or literary subject, re-proposing it in a romantic key. The painting, restored and relined, is presented in an important frame from the second half of the 19th century, with some shortcomings.

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5,300.00€

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Contemporary Painting Felice Carena Painting '900 Oil on Cardboard
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ARARNO0194913
Contemporary Painting Felice Carena Painting '900 Oil on Cardboard

The Wayfarers 1910

ARARNO0194913
Contemporary Painting Felice Carena Painting '900 Oil on Cardboard

The Wayfarers 1910

Oil on cardboard. At the bottom left is the autographed inscription "Bozzetto per una copia", with the signature and the date Christmas 1910; the title at the bottom right. It is a sketch for a replica with variations of the homonymous painting made by Carena in 1907, large monumental (159 x 300 cm), exhibited at the Venice Biennale in 1909 and now kept in the Civic Museums, Modern Art Gallery of Udine, Some moving figures appear in the work, precisely of wayfarers, representing the different categories of humanity, men and women, adults and children, old and young, but all traveling in the same direction. Compared to the original, in this sketch with still undefined facial features, the figures are placed in slightly different positions, with the young man wrapped in a red cloak in the center, and the lower part as well as the background are missing. The colors are almost harsh, lively, spread with rapid brushstrokes and with undefined contours. The painting belongs to Carena's still symbolist pictorial phase, inspired by the French symbolism of Eugène Carrière, a period which ended with his participation in the 1912 Biennale. The work is presented in a coeval frame.

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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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Antique Painting with The Announcement Oil on Hardboard Italy 500
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ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

Oil on wooden board. Central Italian school of the second half of the 16th century. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior that corresponds to Mary's room. The young woman is sitting in front of a small wooden desk, supported by figures of angels, on which rests the prayer book and a vase with small flowers; at her feet, the sewing basket. Mary's body is partially turned backwards, in a twisted movement, almost as if she were trying to escape, as if she wanted to get away from the other figure, that of the Archangel Gabriel. He stands on the right, majestic and elegant, with one hand holding a lily and the other pointing upwards above him, where the white dove, symbol of the Holy Spirit, is emerging from a gap of light. In the background, tall columns with drapes surmount the platform on which Mary's bed rests. The composition refers, in the figurative style and in the chromatic choices, to the already mannerist painting of the schools of central Italy: in particular there is a strong concordance of style and composition with some works of the same subject by the painter Bastiano Vini Detto Bastiano Veronese (1525-1530 / 1602), who lived and worked in Pistoia from around 1540. It is in this city that some of his Annunciations are found: in particular the one in the Church of Santa Maria delle Grazie (an altarpiece measuring over two meters in height), shows clear similarities on a formal and compositional level with the one presented here . There is concordance in the setting of the sacred scene: a room, in the background of which is a curtain that partially covers a bed, furnished with the elements essential to the narrative, the lectern and the chair richly decorated with caryatids of cherubs or angels that seem to be carved in the wood. The compositional scheme corresponds, albeit with slight variations, with the two figures arranged "frieze-like" on the same laying plane, and the somatic features of the Virgin and the Archangel also correspond. However, the floor differs, which, while it is homogeneous in our table, in the Pistoia one presents itself with alternating checkerboard colors, but it seems that this design of the floor was added in a later period, on the occasion of the reconstruction of the altar in 1637 -1639, in pendant with that of another work by the same Sebastiano Vini in the same church, a Sacred Conversation. It therefore seems rather certain that our panel was painted looking at the work of Bastiano Veronese, probably at the specific request of the client, and before the change in the floor, therefore dating back to the second half of the 16th century. The painting has undergone restoration, with the application of two reinforcements to the back of the panel. It is presented in a late 19th century setting. (Reference for the Pistoia altarpiece: Catalog of cultural heritage https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900035285)

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Architectural Capriccio with Figures Italy XVIII Century
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ARARPI0145419
Architectural Capriccio with Figures Italy XVIII Century

ARARPI0145419
Architectural Capriccio with Figures Italy XVIII Century

Oil on canvas. Neapolitan school of the eighteenth century. The scene, located near the sea, is dominated by a large complex of architectural ruins, with statues, arches, hanging gardens, and animated by numerous figurines of commoners intent on various activities. Restored and relined, the painting is presented in an antique frame.

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9,550.00€

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The Allegory of Autumn White Marble Italy XIX Century
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ARARAR0183427
The Allegory of Autumn White Marble Italy XIX Century

Italy, Half XIX Century

ARARAR0183427
The Allegory of Autumn White Marble Italy XIX Century

Italy, Half XIX Century

Female statue in white statuary marble, allegorical personification of autumn, Italy mid-19th century. Whole figure dressed in the old fashioned way with gown, headdress of vine leaves and bunches of grapes, the latter also placed along the left side; with his right arm he holds autumn fruits. Resting on a circular base. Small breaks.

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9,500.00€

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Hieronymus III Francken (1611-1661) The denial of Peter
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ARTPIT0000908
Hieronymus III Francken (1611-1661) The denial of Peter

The denial of Peter

ARTPIT0000908
Hieronymus III Francken (1611-1661) The denial of Peter

The denial of Peter

Oil on oak board, coming from an important historical Florentine collection. The collection started by an ancestor of the family who was in Vienna in 1798 and then in Wurzburg until 1813, as a companion of exile of the Grand Duke of Tuscany Ferdinand III. The collection was transferred to Florence after the fall of Napoleon, and its importance is proved by a copy of an inventory compiled in 1881. At number 14 of it (corresponding to the one shown on the cartouche at the back of the table), the compiler's description:...a two feet and four and a half inches long wooden footboard, and one foot and eight and a half-inch high, representing Peter who denies Jesus Christ to the maiden in Anna's house. We see the Savior from far away carried to that pontiff to be examined, in the midst of a crowd and a quantity of soldiers. In the 1960s, an initial attribution to Bruegel was denied and relocated to Francken. The composition was obviously successful because other versions of the workshop were known (see for example, an oil on copper with identical subject and dimensions in the Koller auction on 18/09/2015). Presented in a refurbished frame.

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14,060.00€

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Moses And The Daughters Of Jethro Tempera On Paper Late 700 Early 800
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ARARPI0093373
Moses And The Daughters Of Jethro Tempera On Paper Late 700 Early 800

ARARPI0093373
Moses And The Daughters Of Jethro Tempera On Paper Late 700 Early 800

Tempera on paper, applied to hardboard. The biblical episode depicted, described in the book of Exodus, tells how young Moses, still at the court of the Pharaoh of Egypt, defends the seven young daughters of the priest Jethro, harassed by some Midianite shepherds while they draw water from the well. After his intervention, Moses will receive in marriage one of Jethro's daughters, Zipporah. This subject is very popular in art history, it is presented here with a particular attention to the portrait component, with a particular exacerbation of the expressive traits, both in the faces and the poses of the characters. The scene is very lively, with the figure of Moses in the centre, vigorous and combative, who divides the field in two: on his left the seven girls, each characterized by a different behaviour; on the right the importuning shepherds, who suffer the wrath of Moses. In the background, a landscape typical of 18th century productions, with an architectural ruin behind the well. The work is presented in a frame in style.

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3,700.00€

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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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7,950.00€

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Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500
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ARARPI0097144
Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500

ARARPI0097144
Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500

Oil on canvas. Lombard School. It is the portrait of a man in armour standing proud, almost in motion, his hand sitting on the hilt of his sword; there is a coat of arms top left, a painted title block bottom right with a long Latin inscription, that identifies the man. He is Bartolomeo III Olevano, who belongs to the powerful noble family of the Olevano, feudal lords of many towns in the Pavia and Lomellina areas (where their castle still exists), who was very involved in the history of Pavia and its countryside until the 18th century. Bartolomeo III, born in 1512, had dedicated himself to the art of war for 40 years, carrying out numerous and highly honoured deeds, and was prefect of Mortara and Novara during the domination of Charles V, leader of soldiers and ambassador of Philip II. His most important achievements are summarised in the title block: a translation of the text is available. The coat of arms of the family has an olive tree on the left, from which the family took its name. The painting comes from an important historical Lombard family collection.

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6,000.00€

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Giovanni Boni Oil On Canvas 19th Century
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ARAROT0116058
Giovanni Boni Oil On Canvas 19th Century

Siege Scene

ARAROT0116058
Giovanni Boni Oil On Canvas 19th Century

Siege Scene

Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.

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2,470.00€

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Portrait Of A Scottish Monarch Oil On Canvas 19th Century
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ARARPI0096279
Portrait Of A Scottish Monarch Oil On Canvas 19th Century

ARARPI0096279
Portrait Of A Scottish Monarch Oil On Canvas 19th Century

Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.

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3,960.00€

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Ancient Sculpture of an Angel Early XVIII Century Linden
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ARARAR0214259
Ancient Sculpture of an Angel Early XVIII Century Linden

Lombardy Early 18th Century

ARARAR0214259
Ancient Sculpture of an Angel Early XVIII Century Linden

Lombardy Early 18th Century

Sculpture of a baroque angel holding a vase in carved lime wood and completely repainted black in a later period, Lombardy, early 18th century. The figure, dressed in a robe decorated with lambrequins, is placed on a base supported by four feral feet. The tastings carried out brought the original colors to light.

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2,950.00€

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Adoration of Jesus Child Oil on Canvas Italy XVII Century
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ARARPI0132216
Adoration of Jesus Child Oil on Canvas Italy XVII Century

ARARPI0132216
Adoration of Jesus Child Oil on Canvas Italy XVII Century

Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.

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4,150.00€

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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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4,260.00€

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Landscape With Figures And Knights Oil On Canvas 18th Century
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ARARPI0117715
Landscape With Figures And Knights Oil On Canvas 18th Century

ARARPI0117715
Landscape With Figures And Knights Oil On Canvas 18th Century

Oil on canvas. In the large scene set outside, the laboratory of a blacksmith stands out on the left side, who is intent to work on horseshoes with his helpers while the owner of the horse attends; in the centre, other knights arrive with their servants who are headed to the craftsman; on the right some popular figures are resting on the roadside. In the background, a large river landscape opens up on the right, while on the left there is the access to the village, dominated by a dilapidated building, with various popular figures intent on their activities: the woman who is about to breastfeed a child, while the other son runs away up the staircase, another woman hanging the clothes on the balcony of the house built on stilts on the rock, while a man climbs the ladder. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts and a hole in the lower band; some patches on the back from an old restoration. It is presented in a thin coeval frame.

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12,200.00€

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Contemporary Drawing by Fausto Melotti Painting Pencil on Paper Frame
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ARARCO0190584
Contemporary Drawing by Fausto Melotti Painting Pencil on Paper Frame

Sculpture project

ARARCO0190584
Contemporary Drawing by Fausto Melotti Painting Pencil on Paper Frame

Sculpture project

Pencil on watermarked paper. Signed lower left. The drawing is accompanied by an authentication on photo from the Fausto Melotti Archive, with code DIS 36 015, showing the data of the work. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his artistic vision. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

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2,550.00€

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Baroque Sculpture Carved Wood Central Italy XVII-XVIII Century
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ARARAR0190516
Baroque Sculpture Carved Wood Central Italy XVII-XVIII Century

Central Italy XVII Century

ARARAR0190516
Baroque Sculpture Carved Wood Central Italy XVII-XVIII Century

Central Italy XVII Century

Baroque sculpture in walnut, central Italy 17th century. The male figure, created to be seen in an elevated position with respect to the observer and originally part of a larger sculptural group, is characterized by wavy hair and beard, right arm brought to the chin while the left in an enveloping position, in the act of to support an object or to cling to some element of support; dressed in a rich drapery that leaves the upper part of the bust and the legs uncovered, one bent and the other stretched out. The volume and plasticity of the body, combined with the sense of movement transmitted by the twist, look to the sculptural production of the Roman Baroque.

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6,500.00€

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Drawings by Jean Cocteau Gouache on Paper Framed XX Century
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ARARCO0189007
Drawings by Jean Cocteau Gouache on Paper Framed XX Century

3 Faces 8 Leaves

ARARCO0189007
Drawings by Jean Cocteau Gouache on Paper Framed XX Century

3 Faces 8 Leaves

Gouaches on paper. On the back there are stickers from Sotheby's Auction with the artist's name and the original title "Three faces eight leaves". These are two similar drawings, with the same subject albeit with small differences, and colored with different techniques. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in the visual arts, loving to experiment with all the avant-gardes of his century. Jean Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of Parisian daily life, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau reveals himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors and human weaknesses. Framed work.

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5,950.00€

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