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26 cm 198 cm

28 cm 180 cm

1 cm 12 cm
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Giovanni Beltrami Religious Subject Italy XIX Century
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ARAROT0077813
Giovanni Beltrami Religious Subject Italy XIX Century

Madonna with Child

ARAROT0077813
Giovanni Beltrami Religious Subject Italy XIX Century

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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G. Ghiringhelli Oil on Canvas Italy XIX-XX Century
ARARNO0149611
G. Ghiringhelli Oil on Canvas Italy XIX-XX Century

Madonna and Child with Adoring Women

ARARNO0149611
G. Ghiringhelli Oil on Canvas Italy XIX-XX Century

Madonna and Child with Adoring Women

Oil on canvas. Signed lower right. Born in Milan and trained at the Brera Academy, Giuseppe Ghiringhelli exhibited for the first time in 1900 at the Milan Triennale, and subsequently participated in numerous national exhibitions. He devoted himself mainly to landscape and portraits, but in his production there are also several representations of the sacred maternity, depicted with intense luministic effects. An example of this is the work proposed here, a true celebration of Motherhood understood as a central element of life: around Mary and the Child, facing forward to look at the world, other women gather, looking adoringly at the two central figures. , bringing free flowers. The work has a slight tear. It is presented in a contemporary frame.

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525.00€

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Adoration of the Jesus Child Oil on Canvas Italy XVII Century
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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Religious Subject Oil on Slate XVI-XVII Century
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ARARPI0160106
Religious Subject Oil on Slate XVI-XVII Century

ARARPI0160106
Religious Subject Oil on Slate XVI-XVII Century

Oil on slate. Painted on a thick slab of slate, the scene presents the dramatic moment in which Mary, surrounded by a group of pious women, weeps over the body of her Son taken down from the Cross: she abandons herself dramatically in the arms of the two women behind her, while at the her womb rests the inert body of the Son, on whose hand a third woman weeps; above, a group of angels who look out from the open skies, from which the divine Light springs, participate in the lamentation. Mary is the only figure who wears brightly colored clothes, which contrast with the waxy color of the body of Christ resting on her lap, while the other women wear clothes in dull colors, just as neutral are the bodies of the little angels. The figures are placed on a dark background, in which the opening of the sepulcher can hardly be seen: the chromatic effect is rendered thanks also to the pictorial base used, the slate, a stone also known as the "blackboard", as the most important slate quarries are located near the town of Lavagna in Liguria. The pictorial modality recalls the works of Pietro Mera known as the Flemish, a painter originally from Brussels who lived between the 16th and 17th centuries: active for a long time in Venice, working from 1570 to 1603 in the service of Cardinal d'Este, Mera made extensive use slate as a pictorial support for some of his works. The material with its characteristic dark color allowed the artist to create intense luministic contrasts and to emphasize the figures, depicted with a bright chromatic range and illuminated by brilliant touches of light. In good condition, the painting is presented in an antique frame.

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Saint Margaret, Oil on Canvas, 18th Century
ARARPI0057179
Saint Margaret, Oil on Canvas, 18th Century

ARARPI0057179
Saint Margaret, Oil on Canvas, 18th Century

Oil on canvas. The young martyr Margaret of Antioch is representd in ecstasy whit her iconographic symbols: she's holding martyrdom's palm and the Cross, the dragon at her feet. According to tradition, the ypung girl had been imprisoned during Diocletian's persecution because she was christian and she was visited by the devil in the guise of a dragon that swallowed her: Margaret ripped up its womb with the Cross and she came out victorious; because of that she's invoked as the patroness of pregnant women to have an easy childbirth. Restored and displayed in frame.

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The Queen of Sheba meets King Solomon
ARTNOV0001591
The Queen of Sheba meets King Solomon

Ethiopian art, c. 1935

ARTNOV0001591
The Queen of Sheba meets King Solomon

Ethiopian art, c. 1935

The canvas depicts the meeting between the queen of Sheba and king Solomon. The queen is represented seated on a throne, in the center of the scene, and to the left appears the following, which brings rich gifts to the king. Solomon is sitting on his throne, characterised by the image of the lion on the side, behind him entered his court. In the underlying part, the musicians emphasize the character of the feast of the meeting. It is part of a group of seven works, which arrived in Italy at the end of the '30s; were purchased directly on-site , as we have reconstructed from the correspondence and from the family photos, from the lawyer xxx, grandfather of the owners, who was sent as a legal representative of a company of Italian production in 1935 in Ethiopia, and from here it was driven out in 1938 by general Graziani, because it was considered anti-fascist. The paintings remained in the family collection, in the palace of the family, and are now presented in all their expressive force. Ethiopia has a very particular history: it is situated between Africa and Asia, and between the Mediterranean and the Indian Ocean, was a crossroads and meeting point of different cultures, stimulated also by the constant and intense trade flows. Five centuries before Christ, stabilized the dynasty of Aksum; in this kingdom, in the fourth century after Christ, christianity was established as state religion, in his version, the coptic orthodox. The sacred texts of the medieval speak also, however, a direct relationship with one of the ten Hebrew tribes, after fleeing to Ethiopia, from which sprang the royal family through the queen of Sheba. And in fact, in Ethiopia still live today), the line of the Falascià, black jews, whose first historical mention dates back to 600 after Christ. Ethiopia was then a bastion of jewish-christian, with african influences, but to be considered almost the southern edge of the mediterranean culture.

Rent

450.00€

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King David plays the harp
ARTNOV0001592
King David plays the harp

ARTNOV0001592
King David plays the harp

The canvas depicts King David playing the harp. Depicted with Ethiopian features, the painting underlines the direct descent of the people from the Davidic lineage. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; they were purchased directly on site, as we have reconstructed from the correspondence and family photos, by the lawyer xxx, grandfather of the owners, who was sent as the legal representative of an Italian production company in 1935 in Ethiopia, and from there he was expelled in 1938 by General Graziani because he was considered anti-fascist. The canvases remained in the family collection, in the family palace, and are now re-proposed in all their expressive power. Ethiopia has a very particular history: located between Africa and Asia, and between the Mediterranean and the Indian Ocean, it was a crossroads and meeting point of different cultures, also stimulated by the constant and intense trade flows. Five centuries BC the Aksum dynasty was established; under this reign, in the fourth century after Christ, Christianity was established as the state religion, in its Coptic Orthodox version. The medieval sacred texts also speak, however, of a direct relationship with one of the ten Jewish tribes, who took refuge in Ethiopia, from which the royal lineage was derived through the queen of Sheba. And in fact in Ethiopia the Falascià lineage still lives today, black Jews whose first historical records date back to 600 AD. Ethiopia was therefore a Jewish-Christian bulwark, with African influences, but to be considered almost the southern edge of Mediterranean culture.

Rent

450.00€

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Madonna with Child Angels and Saints
ARARPI0152910
Madonna with Child Angels and Saints

ARARPI0152910
Madonna with Child Angels and Saints

Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who support her garments, is venerated by two saints, kneeling at her feet: on the right the young woman in princely clothes, at whose feet is resting a royal crown, it refers to Elizabeth of Hungary; on the left, the saint holding the Infant Jesus in his arms can be identified as San Caetano da Thiene. Particular is the play of glances between the various characters, which intertwine together with the positions and gestures, to create an almost circular movement. The painting has been restored and relined. It is presented in an ancient frame restored at the beginning of the 20th century, with various current shortcomings (to be restored).

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Oil on Canvas Religious Subject Italy XVIII Century
ARARPI0146700
Oil on Canvas Religious Subject Italy XVIII Century

ARARPI0146700
Oil on Canvas Religious Subject Italy XVIII Century

Oil on canvas. Venetian school of the seventeenth-eighteenth century. On the back there is a label from the Di Rosa Art Gallery, which attributes the work to the "Venetian School of 1600". The great scene, rich in figures and very animated in the intertwining and superimposition of the bodies, tells the episode of the Gospel of John in which a woman caught in adultery is brought before Jesus by scribes and Pharisees to find out his opinion about the his sentence to be stoned. Jesus, while writing on the ground with his finger, urges his interlocutors to be merciful with the phrase "Let him who is without sin cast the first stone", thus saving the woman from the death sentence and leaving her free to go, with the exhortation not to sin anymore. The subject has been extensively re-proposed in art, with different views on the characters. In this painting, the woman is in a central position, but all the other characters around her make the gaze converge downwards, towards the hand with which Jesus, crouched, is writing on the ground; both the face and the right arm of the woman are practically parallel to those of Christ, as if they followed and conformed to the direction that Jesus indicates to her. In the other numerous figures curiosity dominates, the intent to understand, the question that Jesus raises with his question, represented in multiple expressive variants of both faces and bodies; curious is the detail of the lenses - the glasses of the priest whose head comes out behind the woman and the magnifying glass of the crouched figure on the left in the background - which two figures use to "see better" what is happening. The pictorial and interpretative modalities of the painting recall the Venetian production close to Girolamo Brusaferro (1677 - 1745), the Venetian artist whose painting represents the median way between the great tradition of late Baroque painting similar to Luca Giordano and the innovative coloristic sensitivity typical of eighteenth-century grace. Restored and relined, the painting is presented in a coeval frame, in carved, stuccoed and lacquered wood.

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Religious Subject Oil on Canvas Italy 1920
ARARNO0155130
Religious Subject Oil on Canvas Italy 1920

ARARNO0155130
Religious Subject Oil on Canvas Italy 1920

Oil on canvas. Unidentified signature and date lower right. Sacred image of ancient taste, presents Mary and the Baby Jesus intent on competing for a small breastplate: it seems that Mary tries to remove it from the hands of the little Jesus, who sulkily holds it back. It is a scene of domestic intimacy, of a very earthly mother-child relationship, so much so that the two figures do not even have a halo. In a coeval frame.

Rent

75.00€

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Lamented Over Dead Christ Painting on Porcelain Plate 19th Century
OGANCE0086971
Lamented Over Dead Christ Painting on Porcelain Plate 19th Century

OGANCE0086971
Lamented Over Dead Christ Painting on Porcelain Plate 19th Century

Monochrome painting on porcelain plate. At the bottom right there is the signature A.Barbero and the date 1864. The monochrome painting propose the drammatical scene of Christ's Descent from The Cross and the weeping over his body of his mother Mary, the pious women, and Nicodemus as a sculptorial group. The painting comes with a coeval gilded frame.

Rent

213.00€

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Adoration of Shepherds Oil on Canvas Center of Itay 17th Century
ARARPI0057276
Adoration of Shepherds Oil on Canvas Center of Itay 17th Century

ARARPI0057276
Adoration of Shepherds Oil on Canvas Center of Itay 17th Century

Oil on canvas. Center-Italian School. Typical dynamic scene of baroque taste focused on the figures of the Virgin Mary and the Child surounded by other adoring figures: on the right there is Saint Joseph , on the left two shepherds and on top an array of angels incensing, The painting, already restored, shows small drops of color. Displayed in frame.

Rent

718.00€

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Saint Francis In Ecstasy Oil On Canvas 1847
ARARPI0057297
Saint Francis In Ecstasy Oil On Canvas 1847

ARARPI0057297
Saint Francis In Ecstasy Oil On Canvas 1847

Oil on canvas. Double monogram AL - LB and the year 1847 bottom left. Saint Francis in contemplation of the Cross in the rocky desert, turns his head in ecstasy towords the light above. The painting has a frame from the late 1800s.

Rent

325.00€

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Penitent Magdalene Oil on Board Venetian School 18th Century
ARARPI0057081
Penitent Magdalene Oil on Board Venetian School 18th Century

ARARPI0057081
Penitent Magdalene Oil on Board Venetian School 18th Century

Oil on board. The scene takes place in a wide desert landscepe with a cave where Magdalene was living praying and meditating; the Saint is in the center of the scene and she is in extasis in font of the crucified Chris and a skull placed on a rock outside the wide cave. The painting had been restored and displayed in frame.

Rent

300.00€

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Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century
ARTPIT0001596
Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century

Jesus In Front Of Caiaphas

ARTPIT0001596
Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century

Jesus In Front Of Caiaphas

Oil on canvas. The painting reprises the piece of the Dutch master Gerrit Van Honthorst, realized in 1617 and now preserved in the National Gallery in London. Dutch by birth, he came to Rome soon after the death of Caravaggio, from whom he assimilated the style that earned him the nickname "Gherardo delle Notti". While in Rome, the artist was hosted by the Giustiniani family, who commissioned him a piece for his private collection, where it stayed until 1804. Brought to Paris first, in the Bonaparte collection, after more changes of ownership, it finally got to London in 1922. The painting tells the dramatic episode of the encounter between High Priest Caiaphas and Jesus, during his Passion. The whole upper part is occupied by the dark: the emptiness, the void, they focus the attention on the two protagonists and on the tragedy that is happening. The scene is strongly static, almost frozen in a specific moment, the accusatory act of the Priest towards Christ, to highlight the intensity of the inner drama, profoundly painful. In the scenem Caiaphas is on the left, sitting at the table on which the book of Jewish Law is sitting, and holds his finger up in an accusatory tone; Jesus is on the right, standing with his hands tied, in a humble attitude. There is a candle in the middle, the only source of light, that connects the face of Caiaphas and Jesus', that meet in a game of glances along a diagonal line, and of which the artificial light undelines mercilessly the expressive contrast, the priest's grotesque and angry, while Christ's is bright and composed. On the background, behind the two protagonists, there are figures of High Priests. They are just shadows in the dark who are waiting on the judgement and their faces are shrouded in the darkness that increases the tension. The mark of Caravaggio's influence is easy to spot in the contrast between lights and dark and the intensity of their gazes. The canvas here proposed, half the size of the original but faithful in the stylistic and interpretive forms, was probably commissioned in a smaller size by someone who appreciated the original in Palazzo Giustiniani. Restored and recanvased in 19th century. There are some names written on the back, signs of ownership. Frame in style.

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The Virgin Of Seville (or The Saint Family) Etching 19th Century
ARAROT0118227
The Virgin Of Seville (or The Saint Family) Etching 19th Century

19th Century Etching

ARAROT0118227
The Virgin Of Seville (or The Saint Family) Etching 19th Century

19th Century Etching

Etching. It is a print of the famous painting of Murillo titled The Saint Family or The Virgin Of Seville that today is preserved at Louver Museum in Paris. The etching had been made by Carlo Cattaneo in Turin. It shows several signs of humidity. It comes in a 20th century frame.

Rent

70.00€

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Lament Over The Dead Christ Oil On Canvas North Italy School 1600
SELECTED
SELECTED
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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Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century
ARARPI0153881
Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century

ARARPI0153881
Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Rent

550.00€

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Giuseppe Ghiringhelli Oil on Plywood Italy XX Century
ARARNO0149612
Giuseppe Ghiringhelli Oil on Plywood Italy XX Century

Madonna with Child

ARARNO0149612
Giuseppe Ghiringhelli Oil on Plywood Italy XX Century

Madonna with Child

Oil on plywood. Signed lower right. Born in Milan and trained at the Brera Academy, Giuseppe Ghiringhelli exhibited for the first time in 1900 at the Milan Triennale, and subsequently participated in numerous national exhibitions. He devoted himself mainly to landscape and portrait, but in his production there are also several representations of the sacred Motherhood, depicted, as in this one proposed here, with intense luministic effects and permeated with tenderness and intimacy. The work is presented in a contemporary frame.

Rent

163.00€

Rent

OK