Giulio Carpioni (Venetian master) - 17th century figure painting - Virgin Child

c.1650

Gaspare Diziani (Belluno 1689 – Venice 1767) - Madonna and Child. 74 x 58 cm unframed, 88.5 x 69.5 cm with frame. Ancient oil painting on canvas, in a carved and gilded wooden fram...

Venetian painter (18th century) - Madonna with Child. 37.5 x 45.5 cm without frame, 55 x 63 cm with frame. Antique oil painting on canvas, in a carved wooden frame (not signed). C...

Umbrian-Roman Master (16th-17th century) - Madonna in Prayer. 84 x 58.5 cm unframed, 96 x 70.5 cm with frame. Antique oil painting on canvas, in a wooden frame (not signed). Condi...

Francesco Zugno (Venice 1709 - Venice 1787) - Death of St. Joseph. 61 x 48 cm unframed, 76 x 63 cm with frame. Oil on canvas, in a carved and gilded wooden frame (not signed). We ...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Sebastiano Conca (Gaeta 1680 – Naples 1764) circle Madonna and Child Oil on copper 26 x 20 cm In high-quality period frame 72 x 50 cm The work depicts the Madonna lovingl...

Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) circle/ workshop Madonna with sleeping child Oil on canvas 84 x 66 cm - Framed (19th century) 112 x 95 cm The paintin...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...