EARLY 18th CENTURY ROMAN SCHOOL PAINTING "RINALDO IN THE ENCHANTED FOREST"

Old oil painting 18th century Illustration of waterfall in roman mountains 18th century painting in a gilded frame Very fine painting.  

Neapolitan School, early 18th century, "Lucretia" Canvas 105 x 85 cm - 41 5/16 in. Provenance: Private collection, France. Good condition

An Portrait of a Lady and her Dog, 18th Century, European School The oval painting within its original oak leaf and beaded gilt-wood frame, oil on canvas. Height: 101 cm Width: 85 ...

18th Century French Greco Roman Mythological Painting Beautiful Large piece purchased in France. This scene was taken from the Metamorphosis of Ovid. Inner Frame Dimensions:...

Large historical painting 18th century, Italian school "Darius' mother pleading before Alexander after the battle of Issus." Oil on canvas 210 x 290 cm Painted with great strength...

An 18th / early 19th century miniature painting An 18th / early 19th century miniature painting painted on glass and framed. The copper framed miniature painting in another copp...

Set of 6 paintings attributed to the Cusco School, 18th–19th centuries Series of five small-format oil paintings on canvas, attributed to the Cusco School, 18th–19th centuries. They...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...

Original oil on canvas laid on panel painting, Italian school. Unsigned. Possibly a religious composition with three putti in lower left. Condition: Age related craquelure, some abra...

An early 18th century oil painting from the school of Jan van Neck (1635-1714), Amsterdam, depiction mythological subjects, probably Venus, Cupid and Mars wit...