Art

Ancient painting

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24 cm 253 cm

28 cm 393 cm

1 cm 550 cm
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Art

Ancient painting

Landscapes, still lifes, portraits, faces, sacred subjects, glimpses and views of Italian and international artists: in this section all the works of Ancient Painting available in our catalog.

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Sic Transit Gloria Mundi
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ARARPI0126906

Sic Transit Gloria Mundi

ARARPI0126906

Sic Transit Gloria Mundi

Oil painting on canvas. French school of the seventeenth century. The scene is set in front of an open arch in a stone structure, which gives access to uninhabited and bare rooms. Two figures, a woman and a putto, are delighting with different instruments: she plays a mandolin and, scattered on the ground, there is a palette of colors, books, jewels, armor and weapons, other musical instruments, and a globe. on which the putto stands, producing soap bubbles; on the ground in the center, a cartouche mentions the saying "Sic transit gloria mundi". This is a famous Latin phrase, which in Italian means "Thus passes the glory of the world", used to emphasize the ephemeral value of the things of life, symbolized by various objects (arts, literature, wealth ...), destined to vanish like soap bubbles. The whole scene therefore has a strong allegorical / symbolic meaning: even the sunset, which can be glimpsed on the left, expresses the same concept, everything in the world is destined to end. The theme of the transience of life, always present in art, had its maximum development in the seventeenth century, closely related to the sense of precariousness that hit the European continent following the Thirty Years' War and the spread of plague epidemics. With allegorical scenes like this, rather than with the Vanitas or Memento mori, or scenes or still lifes with symbolic elements alluding to the theme of the transience of life (the skull, the candle that is consumed, a clock, a broken flower), we wanted precisely to emphasize the ephemeral condition of existence, of man and earthly goods. On the back of the work there is a cartouche that says a probable attribution to Simon Vouet. The painting, restored and relined, is presented in a re-adapted antique frame.

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Jacques Callot
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ARARPI0135524

Jacques Callot

Pair of Etchings

ARARPI0135524

Jacques Callot

Pair of Etchings

Etchings. They are taken from "Engraved Landscapes for Giovanni De Medici, or Italian Landscapes", a work created by the French engraver during his long period in Florence, under the protection of Christina of Lorraine. At the bottom, the two engravings bear the words "Callot in. F. Israel ex cum privil. Regis", to underline the author's collaboration with Israel Henriet (1590-1661), a local engraver of Callot. The print is presented in a stylish frame.

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75.00€

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Moses makes Water Gush from the Rock
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ARARPI0132736

Moses makes Water Gush from the Rock

ARARPI0132736

Moses makes Water Gush from the Rock

Oil painting on canvas. Italian school of the seventeenth-eighteenth century. The great scene depicts a biblical episode taken from the book of Exodus: while Moses is leading the people of Israel, freed from slavery from Egypt, in the desert to the Promised Land, his people are complaining of thirst; he then turns to God asking for advice, and receives the order to go to a mountain and hit a rock with his rod, from which all the necessary water gushes miraculously. In the scene the miracle has already occurred: Moses is on the left, with the rod in his hand, and followed by his faithful brother Aaron, while the whole field is occupied by several women who run with jugs to draw the miraculous water that flows to their feet. The painting, on the first canvas, is presented in an adapted frame from the end of the 19th century.

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Portrait of a Woman with a Pearl Necklace
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ARARPI0132217

Portrait of a Woman with a Pearl Necklace

ARARPI0132217

Portrait of a Woman with a Pearl Necklace

Oil painting on canvas. North European school. The pleasant portrait of a young woman in an elegant evening dress embellished with a round of pearls around the neck, recalls the pictorial ways of Peter Lely (1618 -1680), the Dutch painter who devoted himself mainly to portraiture, becoming at the court of London and throughout the kingdom of England the successor, in the role of portraitist, of Antoon van Dyck. The painting, restored and relined, is presented in a period gilded frame.

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Portrait of a Woman with Sheet Music
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ARARPI0132218

Portrait of a Woman with Sheet Music

ARARPI0132218

Portrait of a Woman with Sheet Music

Oil painting on canvas. Northern European School. A young woman wants to recall her passion, or perhaps her engagement, in the world of music, by having herself portrayed with a score in hand. Restored and relined, the painting is presented in a gilded style frame.

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700.00€

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View of the Imperial Forums of Rome
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ARARPI0132735

View of the Imperial Forums of Rome

ARARPI0132735

View of the Imperial Forums of Rome

Oil painting on canvas. The wide view of the Imperial Forums of Rome is part of the vast landscape production of the Grand Tour period, intended for wealthy European aristocrats traveling to Europe - and in particular in Italy, where Rome was considered a must - who wanted a souvenir of the places visited. The Roman Imperial Forums are an architectural complex consisting of a series of monumental buildings and squares, the center of political activity in ancient Rome, built over a period of about 150 years, between 46 BC. and 113 A.D. Despite the enlargements, the fires, the restorations and the reconstructions, during the Antiquity the Imperial Forums kept intact both their architectural conformation and their function. Their almost definitive destruction occurred during the Renaissance at the hands of Pope Julius II (1503-1513), who used the whole area as a quarry for materials to be reused in the building and artistic renovation of the city he initiated. The protests of leading artists such as Raphael and Michelangelo were of little use. In the following centuries various excavation campaigns were undertaken, with greater vigor starting from the nineteenth century, but the area was completely excavated at the beginning of the twentieth century and the ancient architecture was almost completely erased to make room for the construction of via dei Fori Imperiali , which connects Piazza Venezia with the Colosseum. The Forum was rediscovered starting from the sixteenth century also thanks to the Roman view painters who at that time loved to paint the ruins emerging in the pasture area. The view proposed here presents the Imperial Forums before the excavations begun in the nineteenth century, when the road that still crosses them had not yet been built: they are still surrounded by green countryside and the Roman hills stand out in the background. Restored and relined, the painting is presented in a re-adapted 19th century frame.

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Bacchic scene
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ARARPI0132215

Bacchic scene

ARARPI0132215

Bacchic scene

Oil painting on canvas. Northern European School. The painting in calm tones proposes to the viewer, personified by the figure of the man at the bottom right who observes climbing a tree branch, a scene of orgiastic entertainment between men and women in a landscape that evokes Eden with free animals and in peace (the peacock, the rabbits ..). Among the others, on the left a child is playing with soap bubbles: the intent to contrast the transience of life with the pleasures of the senses is evident; high up in the clouds, a deity observes the scene, Chronos, the god of time, who with his scythe underlines human mortality. A label on the frame attributes the work to the Flemish Philippe-Augustin Immenraet (1627-1679), due to the proximity of the landscape subject to his style. The work, restored and relined, has a central color drop. It is presented in a stylish frame.

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St. John Baptist
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ARARPI0132211

St. John Baptist

ARARPI0132211

St. John Baptist

Oil painting on canvas. John the Baptist was represented, wrapped in the traditional animal skin, seated on a rock contemplating the crucifix; at the bottom right, a source of water, a baptismal symbol, gushes out of the rock. His traditional iconographic signs then appear, witnesses of his missionary peculiarities, although the pose of the saint is atypical, more contemplative than that of a preacher. The pictorial modalities are close to the Spanish school of derivation to Murillo, the greatest Spanish artist of the religious baroque, who permeated his figures with an intense psychological interpretation. The painting, restored and relined, is presented in an ancient coeval frame, with small shortcomings.

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Historical subject
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ARARPI0133337

Historical subject

ARARPI0133337

Historical subject

Oil painting on canvas. Venetian school. The scene, set in a desert territory close to snow-capped mountains, sees a traveling caravan, with an important female figure in the center on the back of a camel, addressing a servant below; the high social class of women is inferred, dominant over all the others, and the representation of the Queen of Sheba, the very rich biblical queen coming from the East to meet King Solomon, is hypothesized. The pictorial methods recall the production of Francesco Fontebasso (1707-1769) one of the main exponents of Venetian painting of the Rococo period. Probably the small work was a sketch for a larger canvas or fresco. On the back there is a label from the historic Simonetti collection in Rome. Restored and relined, the painting is presented in a late 19th century frame.

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550.00€

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Oil on Canvas Venetian School Italy XVIII Century
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ARARPI0132228

Oil on Canvas Venetian School Italy XVIII Century

ARARPI0132228

Oil on Canvas Venetian School Italy XVIII Century

Oil painting on canvas. Venetian school of the eighteenth century. The painting depicts the biblical episode taken from the book of Genesis, in which Joseph\'s brothers, jealous of their father Jacob\'s predilection for him, sell him a slave to merchants who go to Egypt and declare to their father that he is dead: they wear on trial the tunic soiled with the blood of an animal, that special tunic that Jacob had made specially weave for his beloved son. In this representation, in which the vivid colors underline the drama, the intense movement of the old patriarch stands out, who, disfigured in pain in the face, tries to keep that stained fabric away from himself, moving his whole body to the left and extending his arm. not to allow her to approach him, almost an attempt to deny the evidence. On the right, the group of three brothers, close together in an accomplice attitude, who tell and point to each other the paternal drama. Restored and relined, the painting is presented in a re-adapted antique frame.

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

Adoration of the Jesus Child Oil on Canvas Italy XVII Century

ARARPI0132216

Adoration of the 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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Etching on Paper by Frank Dewit XVII Century
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ARARPI0133926

Etching on Paper by Frank Dewit XVII Century

Map of the Duchy of Tuscany c. 1680

ARARPI0133926

Etching on Paper by Frank Dewit XVII Century

Map of the Duchy of Tuscany c. 1680

Etching on paper, made by the Dutch cartographer Frederik De Wit. the Latin title "Status Ecclesiasticus et Magnus Ducatus Thoscanae" is shown in the cartouche at the top right, with the date. It is the geographical map of the territory of central Italy at the end of the 17th century, corresponding to the Papal State and the Grand Duchy of Tuscany. Presented in the frame.

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75.00€

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Tobiolo and Tobias Oil on Canvas Italy XVIII Century
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ARARPI0132229

Tobiolo and Tobias Oil on Canvas Italy XVIII Century

ARARPI0132229

Tobiolo and Tobias Oil on Canvas Italy XVIII Century

Oil on canvas. Venetian school of the eighteenth century. A biblical episode taken from the Old Testament book of Tobias is represented, in which it is narrated how Tobiolo, returning from a long initiatory journey, in which he was accompanied by the angel Raphael and the dog, restored sight to his blind father. In the scene, the figures of the two protagonists stand out in the center, the old father, seated on a bench and watched over by his faithful wife, and the young Tobiolo on his knees; behind them the angel dominates them, with his large protective wings open on the two men and who wraps Tobiolo in an embrace, a sign of divine participation and protection for the man who is performing the miracle. The scene is built around the gestural dynamic of healing - Tobias touching his father\'s blind eyes by anointing them with the gall of the fish he caught during the journey and that he holds in his other hand - which is interpreted according to tradition as a sort of anointing which produces salvation. The chromatic vivacity and movement of the bodies, intertwined, superimposed, interacting to give dynamism but at the same time almost to create a unicum, enclosed in an almost circular shape, well delimited by the angel\'s wings, stand out in this work. The painting has been restored and relined. It is presented in a re-adapted antique frame.

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Interior Scene Oil on Canvas XVII Century
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ARARPI0131971

Interior Scene Oil on Canvas XVII Century

ARARPI0131971

Interior Scene Oil on Canvas XVII Century

Oil on table. Flemish school. Undecrypted signature lower right. Set in the room of a rural house, the scene depicts a moment in the daily life of a peasant family: the father watches the pot over the fireplace, the mother sews, the girl plays on the floor with the dog; in the adjoining room a young woman is entering the trap door leading to the cellar, with a jug in her hand. The marked perspective of the room stands out, played through the beams and wooden planks of the ceiling; the details of the simple furniture are well defined. The canvas shows traces of restoration. It is presented in a gilded frame from the early 1900s.

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Portrait of a Young Woman Oil on Canvas Italy 1666
ARARPI0132179

Portrait of a Young Woman Oil on Canvas Italy 1666

ARARPI0132179

Portrait of a Young Woman Oil on Canvas Italy 1666

Oil on canvas. Lombard school of the seventeenth century. A smiling young girl is portrayed in an elegant black dress, embellished with lace on the neckline and a play of red and green laces and ribbons on the sleeves, which match the red embroidered petticoat; she wears her jewels around her neck, wrists, ears, in the hairstyle of her hair, where the austerity of pearls is lightened by colored ribbons; she holds a bouquet of flowers in her hand, which emphasizes her gracefulness and grace. Restored and relined, on the second canvas there is written, probably a copy of the original on the first canvas, which indicates who the young woman is: \\\"Margh.a D. Gridonia Gonz. Agnella - Soada Maffei - D\\\'etta Anni XVIII\\\", followed by a coat of arms with the initials C FAS This writing, in addition to defining the name and age, highlights the young woman\\\'s belonging to the College of the Virgins of Jesus in Castiglione delle Stiviere, founded in 1608 by the Marquise Guidonia Gonzaga together with the two sisters Cinzia and Olimpia, all nephews of San Luigi Gonzaga. This college had the purpose of imparting an education to young noblemen or young people from good families, who, with the dowry donated to the college, contributed to the sustenance of the same. The portrait has minor flaws. It is presented in an ancient, non-coeval frame, with small shortcomings.

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Still Life with Flowers, Fruit and Goldfinch Oil on Canvas Italy '700
ARARPI0132207

Still Life with Flowers, Fruit and Goldfinch Oil on Canvas Italy '700

ARARPI0132207

Still Life with Flowers, Fruit and Goldfinch Oil on Canvas Italy '700

Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.

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350.00€

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Portrait of Giulia Barcaioli Oil on Canvas Italy XVII Century
ARARPI0132231

Portrait of Giulia Barcaioli Oil on Canvas Italy XVII Century

ARARPI0132231

Portrait of Giulia Barcaioli Oil on Canvas Italy XVII Century

Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.

Rent

450.00€

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Still Life Oil on Canvas Italy XVIII Century
ARARPI0132206

Still Life Oil on Canvas Italy XVIII Century

ARARPI0132206

Still Life Oil on Canvas Italy XVIII Century

Oil on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, a fruit bowl with peaches, a large basket full of figs and a goldfinch picking grains from the bunch of grapes placed on the table together. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.

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350.00€

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The Monk's Lunch Oil on Canvas Genoese School Italy XVIII C
ARARPI0132200

The Monk's Lunch Oil on Canvas Genoese School Italy XVIII C

ARARPI0132200

The Monk's Lunch Oil on Canvas Genoese School Italy XVIII C

Oil on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing a simple meal, placed on a white cloth. The scene refers to the sphere of Alessandro Magnasco known as Lissandrino (1667 -1749), a Genoese artist considered one of the most original painters of the Italian eighteenth century, who distinguished himself in popular genre painting and, in particular, in the production of scenes from the life of Capuchin or Camaldolese friars engaged in the most varied activities, from studying in the library to confession, from the work of sharpeners or carpenters in the convent workshops to the simple recollection around the fire: in these works you can appreciate all the expressive freedom of the artist\'s brush. moves on the canvas with quick touches to describe flames, fireplaces, cats, books, dogs, poor bowls, lenses, books, poor patched clothes, chairs and stools, in short, a whole daily world of gestures and things built with a very special and unmistakable technique, made of a mixture of lively color and almost all played on monochrome, on which a few, skilful strokes of light descend to give shape and consis tence to the bony figures of the monks. The author of the work proposed here was certainly trained in the Magnasco area and was inspired by his style, although it is more sedate, without the flashes and interpretative freedom, often irreverent or ironic, towards the figures of the friars; he was able to take up the play of chiaroscuro, lights and shadows, which flow from a monochrome in the shades of browns, still creating a work of excellent pictorial quality. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

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Portrait of the Holy Ancina Oil on Canvas Italy XVIII Century
ARARPI0132221

Portrait of the Holy Ancina Oil on Canvas Italy XVIII Century

ARARPI0132221

Portrait of the Holy Ancina Oil on Canvas Italy XVIII Century

Oil on canvas. Early 18th century. The portrait of the gentleman, dressed in cassock, is inscribed in a frame painted with leaf decorations, which in the lower part also surround an inscription in Latin that identifies the character. Born in 1504, Giovanni Giovenale Ancina, a doctor in his youth, was among the first followers of San Filippo Neri: for the Oratory, the main apostolic work of the Congregation, he worked with intelligence and dedication, also putting his literary skills at his service and as an artist, as well as a scholar of theological sciences and an admired preacher. In 1596 he was appointed bishop of Saluzzo, where he remained until his death in 1604. In 1890 he was declared Blessed by Pope Leo XIII. The painting, restored and relined, is presented in a period frame

Rent

450.00€

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OK