Continental Europe - Paintings

19th century, by Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato, 1609 - Rome, 1685) Praying Madonna Oil on canvas, 44 x 54 cm Framed, 88 x 60 cm Giovanni Battista S...

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

Pair of paintings, painting on porcelain, 19th century, Napoleon III period. Pair of paintings, 19th century, Napoleon III period, painting on porcelain, gilt stucco frame. Frame: H...

DESCRIPTION: Mid-Century Albert Chubac Painting, circa 1950, France Large modern abstract painting by Albert Chubac. Acrylic painting on cardboard. Signed by the artist. Mid-Century ...

GREEK TEMPLE, ARCHITECTURAL DESIGN Victor Forabosco (end of the 19th/beginning of the 20th century) 1895/6 Watercolour on paper, 50 x 97 cm Victor Forabosco was a master builder, ...

We are pleased to present this early 20th-century oil on panel painting. This splendid nude of a young woman features a red signature on the back that is not perfectly legible, but i...

This enamelled porcelain painting, inspired by Raphael’s iconic Madonna of the Chair (c. 1513), beautifully portrays the Christ Child embraced by Mary, with John the Baptist gazing r...

Oil on canvas. Titled and signed. A sketch in the back.

Fred Andersson, Sweden. “Piccadilly Circus, London”, 1967. Mixed media on paper. Artist: Fred Andersson (1921–1989) Title: Piccadilly Circus, London Technique: Mixed media on paper ...

Lars Bertle. Watercolour on paper. Abstract composition. Title: "Brustna relationer" Artist: Lars Bertle (b. 1949) Technique: Watercolour on paper Motif: Abstract composition in red...

Lars Bertle. Watercolour on paper. Abstract landscape in red and violet tones Title: Afton Frösön Artist: Lars Bertle (b. 1949) Technique: Watercolour on paper Motif: Abstract lands...

Unknown artist. Oil on paper in Cobra style. Two abstract figures. Artist: Unknown (signed "R 61") Material: Oil on paper Visual size: 27 × 41 cm Frame size: 46.5 × 56.5 cm Signatur...

Bengt Orup (1916–1996), a well-known Swedish artist. Watercolour on paper. Abstract composition in dark tones with accents of blue, yellow and red. Provenance / origin: Sweden Arti...

Italian modern Abstract mixed media painting on paper and metal frame, 1972 Abstract style mixed media painting on paper. The gestural painting is characterized by rounded lines and...

MARIUS WOULFART (1905-1991) Study of naked Woman. Oilpainting on wood plate. High quality frame. 1950s/60s or earlier. Original frame. Signed. Painting: 50.5 cm x 65 cm / inkl. frame...

Portrait of a red-haired woman, hair tied up, seated 3/4, looking at her gold bracelet Oil on hardboard, 1950s? unsigned Frame with laurel leaves Good general condition D...

Impressive pair of oil on canvas theatre decors/murals depicting a bourgeois interior at two different periods. The grisaille represents the interior in the 19th century, whereas...

The following is a beautiful work of Fuyo drawn by Hasegawa using a skillful brush. 　　　[Hasegawa] 　　1822-1879 Painter from the late Edo period to the Meiji period. 　　*Painter born...

Unknown artist, oil on canvas. Abstract composition. Approximately from the 1980s. In perfect condition. Dimensions: W 98.0 cm x H 102.5 cm. Total dimensions: W 99.0 cm x H 103.5 cm.

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Ceramic wall art by Jean De Lespinasse, 1950s-1960s Dimensions ceramics artwork without frame. Width 62 cm, height 41 cm. Dimensions with frame. Width 83 cm, height 62 cm, depth 2 cm.

Large oil on canvas, "Jesus presents his wounds to Saint Thomas" or "the disbelief of Saint Thomas" after the triptych of Rockos by Rubens, Copy circa 1800 Modern frame

Christo "The Pont Neuf Wrapped 1 " mixed media with original fabric signed. Image dimension 69X101 cm with frame 71X103 cm hand signed by the artist with a piece of the original fabric glued. Good condition Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park.[1] Born in Bulgaria and Morocco, respectively, the pair met and married in Paris in the late 1950s. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own death in 2020, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009. Their work was typically large, visually impressive, and controversial, often taking years and sometimes decades of careful preparation – including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork. Christo and Jeanne-Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar. On September 22, 1985, a group of 300 professional workers completed the temporary work of art The Pont Neuf Wrapped. They had deployed 41,800 square meters (450,000 square feet) of woven polyamide fabric, silky in appearance and golden sandstone in color, covering: The sides and vaults of the twelve arches, without hindering river traffic. The parapets down to the ground. The sidewalks and curbs (pedestrians walked on the fabric). All the street lamps on both sides of the bridge. The vertical part of the embankment of the western tip of the Île de la Cité. The Esplanade of the Vert-Galant. The fabric was restrained by 13 kilometers (8 miles) of rope and secured by 12.1 tons of steel chains encircling the base of each tower, one meter (3.3 feet) underwater. The "Charpentiers de Paris" headed by Gérard Moulin, with French sub-contractors, were assisted by the USA engineers who have worked on Christo and Jeanne-Claude's previous projects, under the direction of Theodore Dougherty: Vahé Aprahamian, August L. Huber, James Fuller, John Thomson and Dimiter Zagoroff. Johannes Schaub, the project's director, had submitted the work method and detailed plans and received approval for the project from the authorities of the City of Paris, the Department of the Seine and the State. 600 monitors, in crews of 40, led by Simon Chaput...

Offered is this floral beauty captured in oil paint in warm colors. Transform your space into an oasis of natural beauty and sophistication with this breathtaking oil painting of a g...

Vintage wall decoration made in the 60s This is a vintage painting drawn with Jan and I can't read the rest very well. It is made on li...

German school, unsigned but attributed to Lorenz Strauch, dated 1612. Oil on copper, ca. 10.5 x 13.0 cm. Including frame: 17.0 x 19.5 cm Portrait three-quarter facing, dressed in...

Northern Italian School, 17th century "Coronation of the Virgin" oil on canvas, 160X108.5cm no cornice good condition

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

Large oil on canvas representing a lively forest: 2 horsemen embark with dogs on a path crossing a forest where men are collecting wood or drinking and eating, installed on a white s...

1681, Pair of Paintings signed Grechetto da Leone as Govaert G. VAN DER LEEUW Oil on Canvas Dimensions: cm W 91 x H 123 x D 6; canvas: cm W 72 x H 103.5 This pair of fine paintings,...

The 39-year-old gentleman had himself portrayed as an aristocrat in an idyllic landscape. At the time, parks and forests were associated with the nobility's lands and pastimes. The s...

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

Ricardo Santamaria (1947-2004), acrylic and collage on canvas titled "Blue Recomposition" dated 1968. Measure: Format 93/77 cm Member of the Zaragoza Group, Ricardo Santamaria is a...

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18TH CENTURY Oil on canvas made in the 18th century, It represents the moment in which the archangel Raphael instructs a young Tobit...

Orazio Orazi (1906-1979) Tempera on canvas "The bullfight at Cheval" 1949 signature and date on the front Italian painter very active abroad, recognized by the name of Orazì and m...

Mixed media on Canvas - Signed & dated - 1970s Art - Painting - Decoration Measures : 33cmx41cm Wear consistent with age and use.

This antique 19th-century oil portrait is attributed to Danish artist Hans Hansen (1769–1828), celebrated for his refined depictions of European aristocrats. Hansen also portrayed me...

Artwork "Au in Klosterneuburg (paradies)" painted by Max Kahrer 1919 Classical Modernism oil on wood signed Max Kahrer studied at the Vienna Akademy of ...

Painting on wood panel, Art Deco period, by Emile Quentin-Brin, 1869-1950. Oil on panel, oil painting by Emile Quentin-Brin depicting a nude woman on the banks of the lake, Art Deco...

The warrior women of the Scythians (behind the Greek ) mith of the Amazons ---------------- Very rare and amazing Deco painting, signed Yves, certainly 1923-1924: this painting makes...

Richard Vilhelm Petersen (born 1914), Danish artist. Oil on canvas. Abstract composition. Title: ”Vraggods” (wreckage). Approximately from the 1970s. Signed: Rich. P. Perfect condit...

Beautiful 17th century oil on a cradled panel, Flemish School. A village feast near a lake. Condition improved and a join in the center of the panel has been reinforced. Notes on the...

This 19th-century Biedermeier oil portrait depicts Julius Ferdinand Dreysel, an influential textile manufacturer from Plauen, Germany. Painted around 1840 on a solid panel, he is por...

Nicolas Edward Gabe (Paris, 1814-1865) Blind man's bluff Oil on canvas, cm L 72 x W 58 (without frame); with frame cm H 98 x W 84 x D 8 The painting, made in oil on canvas, depicts s...

Omphale, Queen of Lydia, buys Hercules to make him her slave, then her husband. In Ovid's account, she forces him to wear women's clothing while she provides herself with the skin of...

My Lady, portrait of an elegant young woman sitting on a bench at the edge of a pond. High quality painting: the greatest care has been taken to paint the silky clothes and lace, an...

1600s Paintings of French Nobility 1600s Portraits of Nobility: Seventeenth-century Paintings Size: 18.5 x 14.6 inches French Artist Featured here are six oval paintings depicting ...

Giacinti Brandi ( 1621-1691 ) " S. Giovannino " 17th Century Important Baroque painting attributable to the hand of the great Roman old master Giacinto Brandi. It depicts San Giovannino who, with an expression of rare beauty and intensity, turns his gaze toward us who observe this small masterpiece. Giacinto Brandi (1621 – 19 January 1691) was an Italian painter from the Baroque era, active mainly in Rome and Naples. Born in Rome,he was part of the studio of Alessandro Algardi, a noted sculptor who noted that Brandi was more suited to painting. He joined the studio of Giovanni Giacomo Sementi. He traveled to Naples from 1638, and by 1647 had returned to Rome to work under Giovanni Lanfranco, where Brandi befriended Mattia Preti. The two artists would later on, often collaborate. His works are well distributed among baroque Churches of Rome including San Carlo al Corso ceiling frescoes (1670–1671), San Silvestro in Capite, Sant'Andrea al Quirinale, a canvas of Sant'Andrea (1650) in Santa Maria in Via Lata a painting of Martyrdom of the Forty (1660) for the Chiesa delle Santissima Stimmate di San Francesco a Coronation of the Virgin (1680) which serves as main altarpiece for the church of Gesù e Maria, a canvas of the Drunkedness of Noah in the Galleria Corsini, an Assumption (1655) for Santa Maria in Organo in Verona a fresco from Ovid's Metamorphoses (1651–1653) for Palazzo Pamphilj in Piazza Navona, and a Martyrdom of San Biagio for the church of San Carlo ai Catinari a Visione del beato Giovanni di San Facondo (1656) and a Estasi della beata Rita da Cascia (1660) in the Basilica di Sant'Agostino in Campo Marzio San Rocco intercede per i malati di peste (1673) and San Rocco in gloria (1674) in the Chiesa di San Rocco all'Augusteo; Compianto sul Cristo morto (1675–76) in the Chiesa di Sant'Andrea al Quirinale. In 1647, he joined the Congregazione dei Virtuosi al Pantheon in Rome and from 1651 was inducted into the Accademia di San Luca for painters. In 1663, he frescoed the life of Saint Erasmus...

18th Century, Italian Pair of Paintings on Glass in Giltwood Frames This exquisite pair of paintings executed on glass is presented within finely carved and gilded wooden mirrors da...

18th century, large Italian neoclassical oil on canvas four panels screen with Trompe L’œil These large screen is composed of four panels in oil on canvas painted. Neoclassical, dating to the second half of the 18th century. Each panel represents a trompe l'oeil, with a classical architecture with square section marble columns and large clogging. Inside the pink space of the first and third panels are painted, as inserted in a niche with bronze frame, ancient busts...

Machja Ruperto. Gouache on cardboard. Abstract composition. Late 20th century. Cardboard measures: 89 x 67 cm. The frame measures: 3 cm. In excellent condition.

Erik Hoppe 1897-1968. Oil on canvas. Double-sided painting. Painted back-to-back on a single piece of canvas. 1: Scene from Søndermarken (Copenhagen, De...

Oil painting on canvas, Colosseum. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL Tags: Dipinto olio su tela , Colosseo. Óleo s...

"Les bienfaits de la nature offerts au plus grand nombre" “Nature's Goodness offered to more people” An Impressive and Decorative Art Deco oil on canvas painting Original frame Signe...

Oil on canvas, painting by Philippe Zacharie (1849-1915). Painting, oil on canvas representing a nude study, woman lying in the grass by Philippe Zacharie (1849-1915). Painting: H: ...

Ballet dancers painting by Werner. Width 28.3" - 72 cm Height 22" - 56 cm.

Paintings, painting on porcelain, 19th century, Napoleon III period. Paintings, 19th century, Napoleon III period, painting on porcelain, gilded stucco frame. Frame: H: 50cm, W: 75c...

This remarkable mid-19th century alpine oil painting on wood captures a Madonna and Child in a deeply symbolic composition. The child holds a flaming heart adorned with a crown of th...

Presenting a magnificent 19th-century Orthodox icon:The Pantocrator. This piece is painted in tempera on a wooden panel, exemplifying traditional religious artistry from this era. ...

Sven Bertil Thorell, Sweden artist. Oil on canvas. Abstract composition 1960s Signed SBT. In excellent condition. Measures: 38,0 cm. x 32,0 cm. Total dimensions: 40 cm. x 34 cm.