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Selected Art section : the best of our catalog of paintings, sculptures and works of art.

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Terracotta Madonna with Child Tuscany
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ARARAR0099242

Terracotta Madonna with Child Tuscany

ARARAR0099242

Terracotta Madonna with Child Tuscany

Terracotta Madonna with Child, derived from Donatello's terracotta, preserved at the National Gallery in Washington, dated around 1420 due to the persistence of Ghibertian kindness. It is a derivation made in the Tuscan area between the end of the 15th and the beginning of the 16th century.

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Madame du Barry Bust in Terracotta
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ARARAR0119522

Madame du Barry Bust in Terracotta

ARARAR0119522

Madame du Barry Bust in Terracotta

Terracotta sculpture depicting Madame du Barry.

Rent

750.00€

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Headless Stone Statue
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ARARAR0093057

Headless Stone Statue

ARARAR0093057

Headless Stone Statue

Headless stone sculpture depicting a Bishop.

Rent

675.00€

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Painting by Arman 10000 Cendrillons 2003
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ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

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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.

Rent

488.00€

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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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Emilio Rizzi Pancil on Papr Italy 20th Century
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ARARNO0101149

Emilio Rizzi Pancil on Papr Italy 20th Century

Pair of Sketches

ARARNO0101149

Emilio Rizzi Pancil on Papr Italy 20th Century

Pair of Sketches

Pencil on paper. Signature and writing "Study for the Mass at the FIled". They are 2 unpublished sketches preparatory to the famous painting of the bolognese artist that is today preserved at the Renaissance Museum of Brescia. The art piece was painted with oil on canvas in 1938 and is the biggest painting made by Rizzi (length 6.57m, height 2.55m), made up on a several sketches made with pencil and chercoal on paper. The painting depicts the landscapes of the Basso Piave, theatre of battles during the Frist World War, and it shows the recollection of soldiers. The sketches in question are the study of two different recollecting poses of two soldiers. Framed.

Reserved

not available

Reserved
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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Alberto Salietti Oil On Canvas 1940s 1950s
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ARARNO0072151

Alberto Salietti Oil On Canvas 1940s 1950s

Female Portrait

ARARNO0072151

Alberto Salietti Oil On Canvas 1940s 1950s

Female Portrait

Oil on canvas. Signed bottom right. Portrait of a young woman in a black evening gown, enlivened by a big flower shawl that she wears draped on a shoulder. Piece by Alberto Salietti, an artist from Romagna, who, even if he developed almost all of his artistic career in Milan and Liguria, the painter, carver, mosaicist and fresco-painter, was still a reference point for painters from Romagna, especially between the two wars. After he moved to Milan with his family, he attended the Accademia of Brera until 1914. After the Venice Biennale in 1924, he became a part of the Novecento movement, which he became a secretary of in 1925. In 1926, he exhibited at the "First Exhibition of the Italian Novecento" and in 1927 he was one of the founders of the "Group of seven modern painters", with Funi, Sironi, Tosi, Carrà, Marussig and Bernasconi. As a portraitist and landscapist, Salietti, who drew from the post-impressionist, secessionist and modern influences, gave an original contribution to Italian art betweet the two wars, standing out for the joyous and optimistic adhesion to reality. The painting is framed.

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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.

Rent

695.00€

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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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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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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.

Reserved

not available

Reserved
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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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

The hunting of wild boar

ARTPIT0001449

Large Landscape Wild Boar Hunting Oil on Canvas 18th Century

The hunting of wild boar

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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