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11 cm 234 cm

10 cm 224 cm

2 cm 215 cm

33 cm 100 cm

49 cm 54 cm
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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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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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Cabinet in Ebony and Ivory
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ANMOAL0097140

Cabinet in Ebony and Ivory

17th century - 1600

ANMOAL0097140

Cabinet in Ebony and Ivory

17th century - 1600

Cabinet belonging to the Neapolitan production, dating back to the first quarter of the seventeenth century. On the front it has two doors (originally a single calatoia door) that give access to the inside, where there are three side drawers that frame a door that hides a compartment and two small drawers, and a single drawer in the lower part. The sides are in ebony with ivory threads, while the upper top is in ebonized wood and always decorated with ivory threads; the interiors are in spruce. The cabinet is entirely inlaid with engraved ivory reserves. In the internal part, a Greek ribbon runs between the small drawers, the front of which is decorated with landscapes inhabited by wayfarers or in which battle scenes take place; in the door in the center, on the other hand, a woman with an uncovered breast and a cornucopia overflowing with flowers and fruit is represented, probably an allegory of Abundance. The doors are also inlaid with ivory reserves with Greek frets and leaf festoons, one depicts a martyr saint with a palm and a column, presumably Saint Bibiana, while on the other a female figure holding an anchor, an allegory of Christian hope . Also in the internal part of the doors it has ivory reserves engraved with female figures, one not better identifiable and one turreted, which raises a ring above the head, probably an allegory of Faith; these two have been adapted from a coeval cabinet, made by a different workshop, presumably inserting them in the nineteenth century during the transformation of the single door into two doors.

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